Starting Your Publicity Campaign

You've received your contract. Your book is scheduled for release. You've put together a press kit. Now what?

Before we launch into that, let's establish a few good habits to form.

1.) Build your database. I'm reading Carolyn See's Making a Literary Life. In her book, she suggests capturing every name and address you come across. When your book releases, you need people to know. This is something both published and non-published authors can do.

2.) Track reviewers. If your book and writing would appeal to Brett Lott's fans, then find out who reviews his books. Follow their reviews and see if they would be a great fit for your book. Write them. Tell them how much you enjoyed 'such-n-such' review and that you hope to send them your book soon. (Tell your publicist. You don't want two different reviewers at the same paper expecting to be the one reviewing your book.)

3.) Keep good notes on your publicity hits. One of my authors had a signing recently and sent me an ideal e-mail. He was able to provide the names and numbers of media that either reviewed his book or gave him coverage last year.

4.) Thank those who gave you coverage. When an author writes and asks me to pass along his or her thanks, there has never been a time when I haven't received a glowing e-mail in reply stating how much that made their day.


This is a business of networking, and you the author are part of that. A friend you make in the media might able to give you a hot tip, or someone just staring out might later be in a position to give you amazing coverage. Imagine if your hometown book reviewer suddenly started to have his or her reviews accepted in the New York Times. Wouldn't you be glad you sent them a thank you note and captured their information?

Joyce Livingston ~ Author Interview

In addition to being a wife, mother of six, and grandmother to oodles, Joyce Livingston has been a KANSAS television broadcaster for 18 years, a speaker/teacher of quilting and sewing, and a writer. As host and producer of KWCH TV's THE JOYCE LIVINGSTON SHOW and WOMAN'S WORLD, she's danced with Lawrence Welk, ice-skated with a Chimpanzee, had bottles broken over her head by stuntmen, and interviewed hundreds of celebrities and controversial figures.

Joyce recently became a widow, and praises God for her writing to help her get through her terrible loss. Three of her books have been named Contemporary Book of the Year in the Heartsong Readers Poll, and she was voted Favorite Author of the Year 3 times. In addition, her Heartsong book, One Last Christmas, won the coveted 2005 Contemporary Book of the Year award given by The American Christian Fiction Writers organization. Her first venture into a larger women's fiction book is THE WIDOWS' CLUB, also published by Barbour Publishing, soon to be followed up with a second book, INVASION OF THE WIDOWS' CLUB. She loves to hear from her friends and readers and invites you to visit her on the Internet at: www.joycelivingston.com or check out her blog and leave a comment at: www.joycelivingston.blogspot.com.

What new book or project would you like to tell us about?

Of course, THE WIDOWS’ CLUB, which is in stores now and available on the internet as well, is my most current release so it is near and dear to my heart. I have several Heartsongs and Anthologies coming out yet this year but the book I’m working on now – is the one my mind is wrapped up in. It is the 2nd book in the Widow’s Club series, its title is INVASION OF THE WIDOW’S CLUB, and picks up right where the first book leaves off, although they are both stand alone novels.

I’ve had such fun writing these books. Though widowhood is not something we ever want to face, it is a distinct possibility it will happen in a woman’s life. It is sad for sure, but the facing and adjusting to widowhood has its really funny side too. Especially if you take a mix of widows of all ages and combine them into The Widows’ Club. I think women of all ages will like these books, whether they are a widow or not, especially Barbie Baxter who throws my heroine Valentine Denay’s life into utter chaos with her quirky, self-centered ways. We all have, or have had, a Barbie in our lives at one time or another.

Tell us about your publishing journey. How long had you been writing before you got a contract? How did you find out and what went through your mind?

I wrote my first romance novel in 1986 and did everything wrong. Sent it off to Harlequin and got a 2 page rejection from the Senior Editor (who is still there) telling me what I should do to fix it. Dumb me, I didn’t realize that was a wonderful thing, and I should have done what she asked and, instead, put it in the closet and left it there. I never tried writing a novel again until about 1997, after I’d gotten quite a few publishing credits by writing and selling magazine articles. With that new found confidence, I decided to try it again.

I wrote 2 complete 70K romance novels, submitted them to LI and got 2 very nice rejections! Through the Lord’s intervention, I met Tracie Peterson at an RWA chapter meeting, she told me she was the acquiring editor and would like to see them. Two days later, she said if I cut the story down to 50K, she was ready to buy it! AMAZING! She bought it, and a few months later, bought the 2nd one. That was about 28 or 30 books ago! I later also sold a book to Love Inspired. What went through my mind? Shock! Panic! Thankfulness! Feelings of inadequacy! But most of all – the thrill of selling!

Do you still have self-doubts about your writing?

Yes, and always will have. Over my computer, I have a saying posted: God doesn’t always call those who are qualified. Sometimes, He calls us and then qualifies us. That’s me! I’m still in awe that someone would buy my books, though I do feel the Lord gives me the ideas and inspirations for each one.

Was there ever a time in your writing career you thought of quitting?

NO! I love it too much!

What mistakes did you make while seeking an editor or agent?

I think I did alright with the editor seeking, but I never sought an agent. I never felt like I was ready for one, or one was ready for me! My agent, Carolyn Grayson of the Ashley Grayson Agency, and her husband sought me at the airport in New Orleans after an RWA conference. They approached me and said they’d like to represent me. It took me a full year to decide to take them up on their offer. However, I inserted in my contract that they NOT act as my agent in anything I did for Barbour, since I didn’t really need them there, but she did represent me with the book I sold to Love Inspired. She is still my agent but, so far, I haven’t used her services again. Though I may in the future.

What’s the best writing advice you’ve heard?

That one is easy. I tell it to every aspiring author. Find a publisher that publishes what you want to write and then WRITE to their guidelines, submitting the most perfect proposal/synopsis you’re capable of doing.

What’s the worst piece of writing advice you’ve ever received?

Several authors, who were already published with secular publishers, told me it was the kiss of death to have my first books published by a Christian Publisher, that it would brand me and I’d never get published by the others. I laughed then and I’m still laughing. I’ve had around 30 books (maybe more, have lost track) contracted and more to come….and all of those who gave me that advice are no longer being published – by any publisher. I’d rather write for the Lord! Where He puts me!

Do you have a pet peeve having to do with this biz?

Yes. Those who have not been published but feel the need to dole out advice to others who are not yet published, as if they are authorities on the subject. I see some terrible advice given on some of the email loops that can do nothing but harm a would-be writer. A little knowledge can be dangerous. And I also get upset with those who post their little tidbits, forgetting that, sometimes, editors are on those loops. They shoot themselves down without realizing it because they haven’t thought things through.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing? In publishing?

Another easy question! If I’d been smart enough to realize that original Senior Editor wanted me to do revisions on that first book, and I’d done them and sent it back in…I may have been published years ago. Or – maybe not! But I’ll never know. I did remind her about that incident several years ago at a conference. She said – if she liked it well enough to sent me 2 pages on how to correct it – she would like to see it again. The updated and modernized version of course. I still have it. Someday I may do just that.

Was there ever a difficult set back that you went through in your writing career?

Not really a set back in my career. Praise the Lord I’ve turned out as many books as I could find the time to write, but I did suffer a slight setback in my writing time and interest when I lost my husband 20 months ago. He was my #1 fan and encourager. I miss him terribly, but at least I’ve gotten pretty much back on track with my writing.

What are a few of your favorite books?

Oh, my! Where do I start? I love a book, Logan’s Child, Lenore Worth wrote a number of years ago. I love all the books Carla Cassidy has written, and so many of my fellow author’s books, I hesitate to list them for fear I’ll leave someone out. When I was a kid, I read all the fairy tale books I could get my hands on. Maybe that’s what sparked some of my creativity.

What work have you done that you’re especially proud of and why?

I self-published 5 non-fiction books and marketed them myself, which I’m proud to say, but as a TV broadcaster, I had a built-in audience of buyers. Of my fiction books, I would have to say 2 of my Heartsong books: ONE LAST CHRISTMAS, which won the coveted American Christian Fiction Writer’s Contemporary Book of the Year in 2005, and DOWN FROM THE CROSS, which was named Contemporary Book of 2005 by the Heartsong Readers. Also, I’m very proud of the fact that Barbour choose DOWN FROM THE CROSS as their kick-off book for their new audiobook line. Those books were definitely inspired of the Lord.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

I choose a scripture verse for each book I write, so that scripture is the one that speaks to me at that particular time. As to a quote? Yes, I keep this posted above my computer too, and it is appropriate for every romance novel I write. Love thrives in the face of all life’s hazard, except one. Neglect. So, so true!

Can you give us a look into a typical day for you?

Up about 7. I’m reading my Through the Bible In a Year Bible through again, but I like to read it in about 6-8 months instead of 12, so I read at least 2-4 days of reading each morning before I do anything else. Eat a bowl of oatmeal, give my condo a quick going over, then check email and blog. After that – it’s all writing! I spend from 8 to as many as 12 hours in front of the computer a day, or sitting up in bed reading and revising. Other than dropping things and spending time with my big family when they drop by (which is often), writing and going to church and church activities is pretty much my life now that my husband is gone.

Do you have a word or page goal you set for each day?

No. Just write until I feel it’s time to quit.

Are you an SOTP (seat of the pants) writer or a plotter?

Definitely a plotter. I actually love to write a long synopsis (chapter by chapter ) before I start. I don’t stay exactly with it, and I branch out in all directions, sometimes bringing in totally new, unexpected characters, but that synopsis becomes my road map and really helps me to keep focused. I believe in giving my editors the story they bought.

What author do you especially admire and why?

So many, but I guess it would be Karen Kingsbury. She writes real…that’s what I want to do.

What is your favorite and least favorite part of being a writer?

Um, I can’t even think of a downside here, although a couple of revisions I’d had to do lately have made me a bit woozy. I love the entire writing process.

How much marketing do you do? What's your favorite part of marketing?

My background in Television should make me a marketer and promoter of my work, but I’m afraid I have been so caught up with the heavy writing schedule I’ve had since I sold that first book, I have done very little. I want to do more, and plan to with each book, but then there is another deadline staring me in the face. I always set my personal deadline at least a month ahead of what my editor sets for me, so I always feel that pressure to get it done – get it done – get it done! I am doing some radio interviews for The Widows’ Club series and love that. I really plan to do more of those because I don’t have to leave home to do them! VBG!

Do you have any parting words of advice?

Being a published author is great. Where else can you work at home in your jammies at your own schedule, doing something you love, and get paid for it? However, it is hard work. Unless you can discipline yourself to sit down in that chair and write, when you’d rather be doing something else, you’d do well to look elsewhere for a profession.

We work alone – doing what only we can do – with no, or very little, help from others. I could live on what I make now, but I’d hate to have to do it. As an author, we never know when our work may no longer be sought, or an editor change brings havoc into your life, publishers are bought out by someone else who doesn’t like your work, etc. No job is secure, but like I said, I’d hate to depend on it. Don’t quit your day job until you have money in the bank to fall back on!

See www.joycelivingston.com for more information.

Author Interview ~ Nancy Moser

Nancy Moser is the best-selling author of thirteen novels including Crossroads, the Christy-award winning Time Lottery, The Seat Beside Me, and the Sister Circle series coauthored with Campus Crusade co-founder, Vonette Bright. Nancy has been married 31 years—to the same man. She and her husband have three twenty-something children and live in the Midwest. She loves history, has traveled extensively in Europe, and has performed in various theaters, symphonies, and choirs. She needlepoints voraciously, kills all her houseplants, and can wire an electrical fixture without getting shocked. She is a fan of anything antique—humans included. Check out: www.nancymoser.com.

What new book or project are you working on?

Just out is “Crossroads”, which is about a matriarch who buys up the dying small town where she lives and gives it away in a contest. It becomes populated by people who want a fresh start—who are at a crossroads in their lives.

In the fall of 2006 I have two more books coming out, "The Good Nearby." It's about people searching for meaning, searching for “the good nearby”, and about a woman who has the number 96 appear in her life over and over (what does it mean?).

Also coming out in the fall is probably the book of my life, "Mozart's Sister". It's my first historical, and is virtually a memoir of Mozart's sister, Nannerl (did you know he even had a sister?) She had just as much talent as he did, but because she was a woman, she didn't have the opportunities. Her story is quite fascinating and will hopefully spur readers to use their own gifts to their fullest potential.

Right now I’m working on a book called “Solemnly Swear” which is about the people on a jury for a murder trial. Information about my books can be found at www.nancymoser.com.

I loved The Sister Circle series. Who conceived the idea? How did you team up with Vonette Bright?

The idea stemmed from need. Since we wanted to reach women, we needed a vehicle where women characters of many ages and backgrounds could come together. I have always loved Victorian homes… Plus, my mother-in-law lost her husband in 1996, and was left with a ridiculously small life insurance policy, so that sad fact was the impetus for the widow Evelyn.

As far as coming together, Dr. Bill Bright (Vonette’s husband) had coauthored some Christian fiction with Ted Dekker. He saw the power of Christian fiction to change lives. Where a friend or loved one might not read a book that’s entitled, “How to Know God!” you can hand them a Christian novel and say, “Hey, read this, it’s a great story” and they’ll get some of the gospel message through the back door. Jesus recognized the power of fiction—He used parables all the time.

It all started back in Feb 2001 when I got a call from one of Vonette’s representatives asking me if I would be interested in coauthoring a novel with her. We met. We hit it off. And four books came out of it.

Out of that initial Sister-idea have come many spin-off opportunities for women. Now, Brenda Josee (who has thirty years in Christian publishing) and I put on an all-day Said So Sisters Seminar that celebrates sisterhood and helps the attendees discover their God-given gifts.

We also have Sister Circles formed in churches all around the country. And we have just released a Sister Stuff Notebook that gives churches some fun but scriptural studies for women to do in their Sister Circles. The information for all this will soon be found on www.sistercircles.com, or by emailing Nancy at nancy@nancymoser.com.

How did you divide up the work? The style is seamless throughout the book. Did you each take characters to write? If so, will you reveal who wrote which ones?

We brainstormed the books, then I wrote them, and Mrs. Bright edited with me. She also provided a lot of much needed spiritual wisdom regarding the issues of being unequally yoked, forgiveness, etc.

Do you enjoy the co-authoring experience more than writing by yourself?

Coauthoring is a completely different experience. The biggest perk was that the opportunity led me to sisterhood with Vonette and with Brenda Josee (who was involved in the process, and who is now my speaking partner). But writing-wise, I’m pleased to be writing on my own again.

Tell us about your publishing journey. How long had you been writing before you got a contract? How did you find out and what went through your mind?

[Ane: Nancy has an amazing testimony of her writing journey. To read the full story, please take time to visit her website at http://www.nancymoser.com/testimony.cfm ]

Do you still have self-doubts about your writing?

In regard to whether I should keep doing it? No. I am doing what I’m supposed to be doing. Yet when I’m in the midst of getting a book started and I don’t know the characters yet, and the words aren’t flowing, and I have no idea how I can ever keep the plotline going for 95,000 words . . . I doubt. I wonder why I chose this profession at all. As with any profession, there are highs and lows, good times and bad. And struggles along the way. But I wouldn’t ever want to do anything else.

Was there ever a time in your writing career you thought of quitting?

No. I was always very persistent. When I received a rejection (and I have received 100’s for articles, stories, and novels) I would give myself ten minutes to cry, pout, and feel sorry for myself. Then I’d go over the submission, make it better, and send it out yet again. Fate finds persistence irresistible.

What mistakes did you make while seeking an editor or agent?

First off, you don’t seek an editor. One is assigned to you once you get a contract with a publishing house. And I had nine books published without an agent. But note: having an agent is getting more and more necessary. A lot of publishing houses will not look at unagented work. The important thing about any professional relationship is having respect for each other, being willing to listen, being heard, being trustworthy and dependable, and liking the other person. Right now I am blessed with great editors, and a great agent.

What’s the best writing advice you’ve heard?

Don’t give up. And be willing to learn. I’ve done critiques at writer’s conference when the newbie writer is adamant about not wanting to change anything. They are closed to advice. This author will never be published, or if they do miraculously get published, will never be published again. Getting the reputation for being high maintenance or uncooperative can kill a career. Writing a novel is all about editing. Changing it. Making it the best it can be.

For example: I wrote “The Quest” while waiting to get a yes on my first novel, “The Invitation.” I didn’t know about length restraints and ended up having to cut 74,000 words from that book. 41% of the novel tossed! And along the way I’ve had some novels go through extensive, multiple edits. Getting rid of characters, combining characters, completely revamping plot lines… If I would have been unwilling to do this, I would have lost the respect of my editors. And probably wouldn’t have gotten another contract.

What’s the worst piece of writing advice you’ve ever received?

It involved the rejection that led me to write “The Invitation” (see answer above). That agent rejected my work and said they didn’t like my writing style. If I had listened too hard, and let myself be completely swayed by one opinion, and changed the essence of my writing voice . . . I might never have gotten a novel published. There’s a fine line between listening to others’ opinions and trusting your own heart. It’s also a continual process. I am still learning. And changing.

Do you have a pet peeve having to do with this biz?

It is very frustrating to know that once a book is printed an author has very little control over sales. Sure, we can send out postcards, do a few booksignings (highly overrated) but the truth is, sales are what they are. And the best publicity and marketing comes from word of mouth. So if you as a reader like a book, tell everyone you know! That kind of marketing is priceless and can make a book soar. The bottom line is God’s got it.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing? In publishing?

It’s a business. Even if your publisher is a Christian publisher, and your agent and editors and everyone you deal with is a Christian, it’s still a business. And business rules apply. They aren’t going to publish you or keep your book in print because they like you. Or because you tell them, “God led me to do this.” Not that they don’t believe God was involved, but it comes down to facts and figures. Numbers don’t lie. Numbers rule.

Was there ever a difficult set back that you went through in your writing career?

A few years ago I was trying to figure out the direction of future books. I’d been writing contemporaries for both men and women, plots with a twist a little beyond the ordinary. Then the women’s fiction of the Sister Circle books. I had plane crashes, tornadoes, time travel, and a Victorian boarding house… What next? Cozy mysteries? Psychological thrillers? I must have put together four or five proposals for new series—complete with sample chapters. I was searching for direction. Aching to know where to go next.

Then God found me and changed everything, answering in a way I never expected.

The event that opened my eyes to what to do next happened while I was standing in the home of the Mozart family in Salzburg, Austria in the summer of 2004—that little three-room apartment where both Wolfgang and his sister, Nannerl were born. In truth, I was only half-listening to the guide, being very close to tourist-information overload.

Yet one statement reached into my weary brain and ignited it: Most people don’t know this, but Mozart’s sister was just as talented as he was, but because she was a woman, she had little chance to do anything with her talent. That one statement stayed with me all the way home to the States.

At the time I was putting together a proposal for a contemporary novel (I only wrote novels set in the present day.) Because of the tour guide’s comment, I got the idea to have one of my characters write a book called “Mozart’s Sister”. My agent sent the proposal to publishers.

Within days we got a call from Dave Horton, an editor at Bethany House Publishers. “I don’t want the contemporary book, I want the book the character is writing, Mozart’s Sister, an historical book about the sister’s life.”
“But I don’t write historicals.”
“I want Mozart’s Sister.”
“But I don’t write in first-person, in one person’s point-of-view throughout an entire book. I write big-cast novels in third person.”
“I want Mozart’s Sister.”
“I hate research.”
“I want Mozart’s Sister.”

Well then. He seemed so sure, so excited. I could not ignore him—actually, I could, but I didn’t.

And so, as so often happens when God offers us an opportunity and we say “yes”, it turned out to be the best experience of my writing life. And, irony of ironies, as I sat in my office with four reference books opened before me, I even found that I enjoyed the research. Imagine that. “Mozart’s Sister” comes out in the fall of 2006. I adore writing about women of history, giving them a voice. The next novel I’m writing is about Jane Austen’s life. Jane telling her story. First person.

What are a few of your favorite books?

I like the novels of Stephanie Grace Whitson (A Garden in Paris) and James Scott Bell, to name two. And I love biographies. And Ann Rule true crime books because of the psychology of the characters. I love to figure out why people do things.

What work have you done that you’re especially proud of and why?

Completing “Mozart’s Sister” because of the research and the new frontier of first-person, historical writing.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

"But these things I plan won't happen right away. Slowly, steadily, surely, the time approaches when the vision will be fulfilled. If it seems slow, wait patiently, for it will surely take place. It will not be delayed." Habakkuk 2: 3 (NLT)

Can you give us a look into a typical day for you?

I’m up at 4:30 or 5, take a 30 minute walk outside, look at emails, write in my diary and prayer journal, see my hubby off (our three kids are grown, and am ready to write by 8. I have a daily word quota I need to meet and I stick in my seat until I make it. Sometimes that takes four hours, sometimes two. In the afternoon I do research and family things. The point is, writing never leaves me. I get ideas in the strangest places and times. My husband complains that my mind never shuts off. Very true.

Do you have a word or page goal you set for each day?

Depends on the book. But when I get a deadline I print up a calendar, month by month, and count out how many actual writing workdays I have available until the deadline (weekdays only). I divide that number into 95,000 (the usual word count of a book). That’s often 1000-1500/day. I keep track of how many words I get done on my calendar as I go. This is essential or else I’ll procrastinate and months will go by. I’m not a good last-minute writer.

Are you an SOTP (seat of the pants) writer or a plotter?

Mostly SOTP, though I do both. I start with a very open premise (What if you could go back in time and change something? What if you were rich and famous and felt compelled to give up everything and follow Jesus? etc.) Then I cast it like it’s a movie, and start writing. As I get to know the characters plotlines evolve. And as those evolve, the story gets more and more pinned down. But the plot and the characters are always subject to change. And editing. And re-editing.

What author do you especially admire and why?

Stephen King for his characterization. Amazing.
Jane Austen for her wit.

What is your favorite and least favorite part of being a writer?

Favorite: Having written (old joke). Least favorite: starting a new book. Facing the blank page.

How much marketing do you do? What's your favorite part of marketing?

I have a website and send out an email newsletter. I do booksignings if asked. I sell my books when I speak. I do radio interviews when my publisher asks. But I hate marketing. Just let me write!

Do you have any parting words of advice?

If you think you’re a writer, write. And read. And learn. Just do it. Today.

Author Interview ~ Jeri Board

Jeri Fitzgerald Board grew up in Johnston County, North Carolina, just a few miles from the site of the Battle of Bentonville. She is a retired administrator with the University of North Carolina, and a former professor of African-American Studies and American Women Writers, at Duke University and St. Andrews Presbyterian College. She and her husband, Warren, live in Tryon, North Carolina with their feline companion, Miss Beautiful.








What book or project is coming out that you’d like to tell us about?


My first historical novel, The Bed She Was Born In, was released in April.
This is the story of five southern women—three black and two white—and the intimate relationships they foster which help them overcome sexism, racism, and poverty in an era (1865-1941) when women had little opportunity.

How did you conduct the research needed to write this story with accuracy?

As a professor of Women’s Studies and African American Studies, I have been conducting this kind of research, using the most reliable resources, for decades.

Tell us about your journey to publication. How long had you been writing before you got the call you had a contract, how you heard and what went through your head.

Mine has been a rather unconventional journey. Although I taught creative writing for years, I never made a living as a writer. I am a retired administrator with the University of North Carolina, and a former professor, and have made my living in that arena. I wrote The Bed She Was Born In during a hiatus from my usual vocation.

This story, which began with my great-great-grandmother’s experiences during the last major battle of the Civil War at Bentonville, NC, played in my head for years. I finally had the opportunity to devote myself to it in 1992-93, so I sat at my kitchen table every day and wrote it, long-hand, on legal pads. A friend processed it for me and the manuscript was 568 pages. In the winter of 1994, my husband and I made a joint decision to go to St Andrews Presbyterian College, where we immersed ourselves 24/7 in the work of that institution.

The manuscript went on a shelf in a closet where it gathered dust for the next 7 years. During that time, I sent the first three chapters to two publishers and they responded with positive remarks about content and characterization, but both expressed concern about length. We moved to Tryon, North Carolina in 2003, and after we spent 2 ½ years renovating and remodeling our house here, I got out the manuscript, cut 250+ pages (oh, lord!), rewrote the ending, and added a prologue and an epilogue.

I was invited to read at an AAUW fund-raiser last May. Les Stobbe and his wife, Rita, were in the audience. They had just moved to Tryon from Boston, and while I had met them, we did not know each other. They wanted to buy 6 copies of my book. When I told them it had never been published, they became interested. I had no idea that Les was a literary agent. They called me that evening and we set up a meeting for the next morning where I signed a contract with him. He sold The Bed She Was Born In in less than two weeks. Needless to say, I was astounded….just blown away.

What mistakes have you made while seeking publication?

I don’t mean to sound flippant here, but I have had so little experience I don’t think I have had much opportunity to make too many mistakes on the issue of publication. I did not make an honest effort to have my novel published because I could not take the time to do right by it. One very telling incident occurred with a publisher in Georgia that let me know I did have the RIGHT product, but not the right publisher. Chemistry between the writer and the publisher is crucial and I have been very fortunate in that regard.

What’s the best advice you ever heard on writing/publication?

The best advice I have ever heard is, “Stick With It!”…both the writing and the publishing. And read, read, read. By that, I mean, really study the writing of others.
I always ask my writing students to “ape” the style of their favorite writers….to try to capture not only the semantics, but the feeling, the depth, the color, if you will…of someone they admire. I believe that no writer can ever understand, or appreciate, the process until they can analyze, to some extent, that process from another writer’s viewpoint. You have to get in there and really take it apart to appreciate it.

What’s the worst piece of writing advice you ever heard?

The worst piece of writing advice I ever heard was a comment made by one of the publishers to whom I sent my manuscript. He told me there was just too much stuff in my novel about women! My reaction was BINGO! I knew I had hit it and I never backed away from what he deemed a liability.

What’s something you wish you had known earlier that might have saved you some time/frustration in the publishing business?

I wish I had known about how little control I would have over the treatment of information shared in interviews and other marketing devices. A writer is at the mercy of those who are interested in her/his work …and especially when it comes to the manner in which their product is presented. For instance, I have seen comments printed about The Bed She Was Born In from people who have obviously NOT read it. You just have to go with the flow and know that these things are going to happen.

Is there a set back you have gone through in your writing career you are willing to share?

Since I have not had a writing career, I can’t address this. Generally, I would say that it is wise to not have too many expectations.

What are a few of your favorite books?

Rather than mentioning their books, may I just mention a few of the writers I particularly admire? Edith Wharton, Willa Cather, Alice Hoffman, Toni Morrison, John Steinbeck, Victor Hugo, Thomas Hardy, Jane Austen, Doris Kearns Goodwin, Zora Neale Hurston, Wm. Faulkner, Alice Walker, Amy Tan….there are so many. I wish that Harper Lee had written more than one book.

What piece of writing have you done that you’re particularly proud of and why?

I think The Bed She Was Born In should be read by every woman, and every man, in America. Some people will think, because of the title, that this is a “woman’s book.” It is rather a book about women who may be viewed as unconventional for their time.

The Bed She Was Born In deals with universal themes that, I hope, will have universal appeal. I have received so many wonderful comments from people who have read it and loved it…men and women, black and white, old and young. I have been particularly gratified by the positive comments I have received from young adult readers.

Do you have a pet peeve having to do with this biz?

My pet peeve is dealing with other people’s assumptions. I think this is something all of us human beings deal with when we deal with other human beings. It’s constant.

Can you give us a view into a typical day of your writing life?

When I wrote The Bed She Was Born In, I sat at my kitchen table off and on throughout the day. I began early each morning with a long walk which helped clear my head of any excess baggage I did not need for my writing journey. (I still do this every day….and I work when I walk.) If I were frustrated with a particular scene I was working on, I would leave it and take a walk around the block. And if that did not work, I would let it alone for a few days and go back to it later. Things need to meld, to season…they need time.

If you could choose to have one strength of another writer, what would it be and from whom?

If I could choose to have one strength from another writer, it would be the incredible power of certain writers to convey feelings of “being in the moment” in their work I think Toni Morrison does this so well. I feel as if I am looking over her shoulder when I read her work….as if I am the person about whom she is writing.

Do you have a dream for your writing, something you would love to accomplish?

My dream would be that the message of The Bed She Was Born In would become so wide spread that people all over this country would come to understand the positive relationships that have always existed between black and white Southerners. We have been dependent on each other for centuries, and Southern women have always nurtured the thin thread of civility that has kept us going and kept us strong. This is not to say that there have not been tremendous problems along the way. Racism, sexism, poverty, and lack of opportunity have existed, not only in the South, but all over this country throughout our history. Unfortunately, they continue to flourish today.

Was there ever a time in your writing career you thought of quitting?

I always dreamed of having a time in my life when I could actually write something, and when I finally got the opportunity, I held onto my hope that The Bed She Was Born In would be published. I wrote the original manuscript of 568 pages in two years time and NEVER thought about not finishing it. The journey to writing it had been so long that I could not do anything but hold on until the end. Besides, I loved every minute of it. Writing this novel was the hardest thing I have ever done, but it was the most fun, too.

What is your favorite and least favorite part of being a writer?

My favorite part of being a writer is “being” the characters. I love to get inside their heads and let them take me where they will. The thing that is hardest is the isolation. This is lonely work, as one has no colleagues in an office next door. I have to MAKE time to get out and see other people, to socialize, to try to be a normal person. This always helps me with my work because others are interested in what I am doing and they ask questions, and make comments, that give me even more insight. I come away from every presentation I do at a library, or club meeting, with new friends and new ideas.

How much marketing do you do? Any advice in this area?

Now, this is a great question because I think that most first-time novelists have no idea of the amount of time and energy they will have to devote to marketing. Unless you are a John Gresham or Doris Kearns Goodwin, you will get very little help from your publisher (If you are lucky, perhaps they will sponsor one event). I spend the majority of my day dealing with correspondence (mainly emails) and scheduling events for The Bed She Was Born In. I present programs for libraries, historical societies, civic and church groups, and do readings and signings at book stores on a regular basis. People who organize these events do NOT come to you; you have to go to them. Fortunately, they are very supportive and interested in having you do something for them.

Parting words?

Talk with other writers who have been successful. Learn from them. Try to adapt to new ideas especially when it comes to marketing. Use your connections, your friends, to help you. My friends have been incredibly helpful and supportive and nothing works as well as “word of mouth” when it comes to selling.

Don’t be shy or easily intimidated. Find out what you need to know and go for it. And don’t be lulled into thinking that your book will sell itself. Writers sell books. Be prepared to spend a bundle on marketing items such as a web site, postcards, flyers, as well as gas, meals, and motels while you are on the road. Some libraries will cover mileage and/or pay an “author’s fee,” but these will not be enough to cover your expenses. Above all, have fun! This is your time to shine…and to meet interesting people who are obviously interested in you and your work. Make the most of it because in the end, all we have is each other.

For more on The Bed She Was Born In, including the synopsis, first chapter, and ordering information, please go to www.thebedshewasbornin.com. Thank you.

Author Interview ~ Jonathan Rogers

Jonathan Rogers grew up in Georgia, where he spent many happy hours in the swamps and riverbottoms on which the wild places of The Wilderking are based. He received his undergraduate degree from Furman University in South Carolina and holds a Ph.D. in seventeenth-century English literature from Vanderbilt University, where he taught English for five years. Rogers makes his home in Nashville, Tennessee, with his wife and six children, where he makes a living as a freelance writer.





Interview by Kelly Klepfer


What book or project is coming out or has come out that you’d like to tell us about?

The Way of the Wilderking concludes my Wilderking Trilogy, which also includes The Bark of the Bog Owl and The Secret of the Swamp King.

The trilogy tells the story of Aidan Errolson, a shepherd boy who finds out that it is his destiny to be the Wilderking, the long-prophesied wild man who will come from the forests and swamps to set things right in the island kingdom of Corenwald. Along the way he falls in with the feechiefolk, a tribe of semi-civilized swamp people who fight too much, cry too easily, laugh at jokes they’ve heard a hundred times, and smell terrible. I like to call the Wilderking Trilogy a “fantasy-adventure story told in an American accent.”

Tell us about your journey to publication. How long had you been writing before you got the call you had a contract, how you heard and what went through your head.

Shortly after I quit my cubicle job, I wrote the first chapter of The Bark of the Bog Owl and showed it to agent John Eames, who was a friend of a friend. I told John, “My wife is pregnant with our fifth child. I’m in no position to do art for art’s sake. Does this look like the sort of thing you could sell?” John said he thought he could sell it if I could write a whole book that lived up to the promise of that chapter.

I think that meeting was late May 2002. I wrote The Bark of the Bog Owl throughout the rest of 2002… I finished it between Thanksgiving and Christmas. Starting in January of 2003, John Eames pitched it to about a dozen publishers as the first book of a trilogy. A couple of publishers made offers in the spring, and we settled on Broadman and Holman.

What made me go with Broadman and Holman was the fact that Gary Terashita, the acquisitions editor, asked if I’d be willing to beef up the story—make it longer, and make it appeal to a little bit older target group. Ever since I started writing the book, I was afraid I’d end up with a publisher who would ask me to dumb it down. Not all publishers show young readers the respect they deserve. To my mind, I was writing serious books, and I didn’t want them to go out into the world wearing footie pajamas. In retrospect, I don’t think that was as big a danger as I had supposed, but Gary’s challenge was very energizing—and it resulted in a much better series.

Do you still experience self-doubts regarding your work?

I don’t often doubt whether what I’ve written is good enough. I usually succeed in writing the sort of thing I like to read; and since that’s the best way I know of judging whether a piece of writing is “good enough,” I rarely experience doubts at that level.

What I do doubt—every day—is whether or not I’m faithfully pursuing my calling. What is an appropriate use of my talents? Should I spend next three hours writing the prose I can write, or should I devote that time to self-promotion? I can rationalize either choice. If I apply my talents toward writing bank brochures (something I frequently do), does that count as pursuing my calling? After all, feeding those babies is part of my calling too.

I’ve got a couple of novels I want to write—I would even say I feel called to write them—but I don’t have any reason to believe they would help me provide for my family. What constitutes faithfulness in that situation? And what does a string of rejections mean? Is it a fiery trial for the purpose of hardening my resolve, or is it a signal that it’s time to go back to the cubicle?

What’s the best advice you’ve heard on writing/publication?

I don’t know if this is the best advice I’ve ever heard, but at least it’s something your readers may not have heard before: if you want some serious training as a writer, get a job writing advertising copy. I know it sounds pedestrian. But every day you’re forced to try out several different voices, speak to several different audiences about several different subjects, some of which are so dull you can’t imagine saying anything interesting.

But you need to get paid, so—lo and behold—you find you’re able to come up with something after all. And deadlines…sometimes you have 2 or 3 in a single day. Obviously, being a copywriter isn’t going to teach you everything you need to know about writing. But I’ve learned things about my own capabilities that I could have never learned from a writing class or seminar. Yoking my creative tendencies to the matter-of-fact, professional approach required of a copywriter has done me a world of good.

Plumbers don’t get plumber’s block. Lawyers don’t get lawyer’s block. They get up in the morning and do their jobs. Are you a writer? Then get up in the morning and write.

What’s the worst piece of writing advice you’ve heard?

I once had a well-meaning person from a marketing department advise me to turn the character Dobro Turtlebane into a girl. Your readers who are familiar with the Wilderking books will know how funny that is. For your readers who don’t know the Wilderking books, Dobro is a smelly, rude, belligerent swamp-dweller. The Bark of the Bog Owl had no girl characters, and my friend from marketing knew that girls read a lot more than boys…and girls understandably like girl characters. I ignored the advice, of course. To base any narrative decision on marketing concerns would have utterly contradicted the earthy, swampy ethos of the Wilderking books.

What’s something you wish you’d known earlier that might have saved you some time/frustration in the publishing business?

I recently read something from Chip MacGregor (associate publisher at Warner Faith) that I wish I had known 3 or 4 years ago. It’s a formula for determining whether or not you’re a full-time writer: if you have 24 months of work contracted paying what you consider to be a normal salary AND you have at least 4 books paying royalties—i.e., having already earned out the advance—your writing is a real job.

Sometimes a writer gets a good advance and thinks he’s suddenly got a real job as a novelist. If I had known Chip’s formula from the start, it would have saved me a lot of heartache and struggle. A good advance does not a writing career make.

Do you have a scripture or quote that has been speaking to you lately?

Our “family verse” is Philippians 1:9-10: “And this I pray, that your love may abound still more and more in real knowledge and all discernment, so that you may approve the things that are excellent...” I love that phrase, “approve the things that are excellent.” Sometimes we’re called upon to disprove the things that are wrong, but on a day-to-day basis, I believe it’s more important that we approve the things that are excellent. It’s always my prayer for my family that we might demonstrate an excellent way of living. It’s the same with my writing; I hope it’s excellent, and I hope that through it I’m approving of the things that are excellent.

Can you give us a view into a typical day of your writing life?

I’m really the wrong person to ask. Between writing ad copy, work-for-hire devotional books, and “my” books, it seems that every day is very different. It all depends on where I am in the deadline cycle on what project. I write out of my house. With six kids in and out, that’s pretty tricky. Earplugs have changed my life.

Do you have a dream for the future of your writing, something you would love to accomplish?

The central idea that keeps me writing is “divine comedy”—the idea that the vast drama of human history turns out to be a comedy, not a tragedy. Your fondest hopes only faint shadows of the truth, and your wildest dreams aren’t wild enough. Omnipotence turns out to be the same thing as infinite love. It’s my hope to devote a whole writing career to that astonishing truth—through essays, literary criticism, children’s fiction, grown-up fiction, and maybe a few other genres.

What is your favorite and least favorite part of being a writer?

Sometimes I hear from a person I haven’t seen or talked to in ten or fifteen years, and they say, “When I read your book, I knew it was you. I could hear your voice in it.” I love knowing that when I’m dead and gone, my grandchildren and great-grandchildren can read my books and hear me talking about the things that are most important to me. They can read The World According to Narnia and have a pretty good idea of my theology. They can read the Wilderking books and have a pretty good idea of what I think is funny or interesting.

My least favorite part, I suppose, is the sneaking suspicion that I’m being self-indulgent. My family has to make lots of sacrifices for me to be a full-time writer—from financial insecurity to having to put up with my meanness when deadlines come around.

What particular part of King David’s story inspired you the most?

The David story is so rich, first to last. Eugene Peterson’s book, Leap Over a Wall does an incredible job of teasing out the narrative possibilities in the life of David. But there were two aspects of the story that really jumped out at me. The first is the gap between the Now and the Not Yet. Many long years pass between the day David learns he’s going to be king and the day he actually becomes king. A whole lot happens in that gap. Over and over again David is called to act decisively, confidently. And yet, wouldn’t there always have been the slightest doubt? Did the prophet get it right? Am I really destined to be king? And if I am destined to be king, what are we waiting for? What does loyalty look like in such a situation?

But over against that doubt, we have the certainty of a boy who hasn’t yet learned how to be a hypocrite. It was the grown-ups who taught David that the Living God would deliver them from the Philistines. But when David showed up at the battlefield, it was the grown-ups who were paralyzed with fear. It took a certain naïveté not to be intimidated by Goliath.

There is the ongoing debate in Christian fiction on the overtness of the gospel in novels. You’ve used allegory and hints, but no outright salvation plan on the back page. What are you hoping to accomplish through your stories?

A lot of times when people use the phrase “the gospel” they’re talking about evangelism. Of course that’s an extremely important part of the gospel, but it’s not the whole gospel. Once you’re converted, you’ve still got the rest of your life stretching out before you. And the fact of God’s grace in your life ought to impact every decision you make. It ought to shape every interaction. It ought to define your attitude toward work and family and community. That’s the gospel too. It’s true that there are no conversions in the Wilderking (actually, there’s an implied conversion in Book 3)—but I hope the gospel is pretty overt.

A PhD in 17th century literature is intimidating. How did your educational background prepare you for the Wilderking books?

I read a mountain of books in graduate school, and that definitely influenced my writing. But in many ways the novelistic impulse is the opposite of the academic impulse. Modern-day academics is typically about narrowing into ever more tightly defined areas of expertise. Good fiction, I believe, requires broadening, opening up to the world. Sometimes I think the best thing graduate school did for me was to make me appreciate the freedom and breadth of the non-academic life.

I love reading what I feel like reading and writing what I feel like writing. I don’t take that for granted any more. I’ve always loved seventeenth-century literature, but I enjoy it a lot more now that I don’t have to read it unless I want to.

Parenting – did it prepare you for the trilogy?

My kids are always reminding me what it was like to be a kid. That’s a big help when you’re writing children’s fiction. But the main way parenting prepared me to write the Wilderking was simply that it gave me an audience to write to. I love having somebody specific to write to. I know what my boys like…and I know there’s a good chance other kids will like the same thing. Also, once I got well into the Bark of the Bog Owl, the boys were demanding more chapters. Not knowing if the book would ever find a publisher, it was good to have somebody who was demanding that I finish the thing. They held me accountable—pretty loudly at times. The elder of my two daughters is starting to read now, so I’ll soon have an audience for a more girl-centric book.

You obviously believe children are intelligent and creative beings – do you prefer to write for children/teens or adults? Why?

C.S. Lewis remarked that any children’s book that’s not worth reading as an adult isn’t worth reading as a child either. I agree whole-heartedly. When I wrote the Wilderking, I was writing what I thought was funny and interesting, not what I thought kids would find funny and interesting. I do the same thing when writing for adults. I write what I find interesting on the assumption that somebody else will find it interesting too.

What was the turning point for making the decision to pursue full-time writing?

After I got out of academics I took a job at a technology company for four or five years. It was a great place to work in most ways, but as the years went by the total disconnect between my talents and abilities on the one hand and my work on the other was just taking it out of me. It was extremely draining to spend 45-50 hours a week doing work that I had no particular talent for, while the talents I did have sat idle. I felt like I was becoming another person—or, more to the point, I felt like I was becoming nobody in particular.

I reached a turning point in January of 2002. In one week, my boss gave me a terrible review at work, and my mother was diagnosed with lymphoma—a development that put my work troubles in perspective and also gave me occasion for much soul-searching. I decided life was too short to live the way I had been living. Friday of that week I drove straight from the hospital in Atlanta to my office in Nashville for the face-to-face portion of my annual review, where I resigned my position.

One way or another I was going to make a living as a writer. I figured that would mean writing mostly advertising copy and technical manuals, but I hoped I could figure out a way to include some books in the mix.

The last of my vacation days I spent in Orlando with my best friends from college. It did me a world of good to sort things out with people who still thought of me as the person I had been ten years earlier. And just being in swampy Florida seemed to stir up some creativity that had lain dormant. After a canoe trip down an alligator-infested river, I went to a bagel shop and outlined the story that became The Wilderking Trilogy.

What’s next?

At the moment I’m in the middle of a few work-for-hire projects, but I don’t currently have a contract for a “book of my own.” I’ve embarked on a grown-up novel that I’m very excited about, but I don’t know when that’s going to be ready for prime time. I’d also love to extend the Wilderking series one of these days. We’ll just have to see what happens.


To read Kelly's review of The Wilderking Trilogy Click here.

S'up Saturday... and the top ten

Lots of great stuff coming up. I just read Noah Lukeman's interview and it is packed full of information you have to read. I decided to make it a two parter it was so great. Also coming up: interviews with Jonathan Rogers, Jeri Board, James David Jordan, Chip MacGregor, and many others. Also commentary from Mary DeMuth, publicity from Jessica Dotta and whatever Ane's secretly working on.

Also, my critique partner, the wonderful freelance editor and author of killer mysteries, Elizabeth Ludwig, featured a profile of yours truly. If you'd like to go have a look:
Guest Corner


Now for the real news:


THE TOP TEN THINGS YOU CAN GET AWAY WITH WHEN YOU'RE A NYT BEST-SELLER

10. Keep using the same photo on the back cover that was taken when you still had hair.

9. Hire a stand-in to play you at book signings.

8. Make a crappy movie from your crappy book.

7. Do a cameo appearance in the crappy movie made from your crappy book.

6. Read queries on 'Evil Editor' saying a new book will strike the reader as reminiscent of yours :-)

5. Jump all over Oprah Winfrey's couch.

4. Tell your publicist you just turned down Oprah Winfrey and giggle as she has a meltdown.

3. Call your agent at two am to ask if he thinks you'd look better in red highlights or blonde.

2. Tell people "Let the haters hate, let the doubters doubt, I stand by my book and my life" when The Smoking Gun reveals your memoire of drug and alcohol abuse is largely made up.

1. Write a book in second person future tense in a stream-of-consciousness style from the POV of an asparagus, and if anyone mocks it, say, "You just don't understand art."

That was fun! Here's next weeks if you want to play:

The top ten things you hear from a high-maintenance author:

10. I'd do the interview if I didn't already have a massage apt.

9. There were less than a hundred people at the book signing so I left before anyone saw me.

okay, help me out here...

Your Press Kit

In the last two posts, we talked about what your publicist does and how to write a press release--a big thank you to Rebeca Seitz for filling in while I was in California. Now let's review and look at the other items needed for your press kit.

1.) Your Press Release- Stand out and be very precise. Generally, at the beginning of a campaign, I create one press release that is versatile for both news and entertainment purposes. That way in a pinch, I have something I can send out, regardless of the outlet. Book signings, launches, and events, require a press release pertinent just to that event.

2.) Your Photo—Want your publicist to love you? Come prepared with a good photograph. Unless we happen to live in your neighbourhood, this is one thing we cannot do for you. Have a clean, digital image. Hint—Bigger photos work better because they allow us to proportion the image to the project we're working on. Sometimes I want to use both a book cover and the author's photo on the press release. However, if they are not the same size, the press release can lose its visual appeal—becoming lopsided. An image can be shrunk without marring it, but not expanded.

Why is your photo so important? If a major television show is interested in having you on as a guest, they'll want to know what you look like. If a magazine has an article featuring you, they'll want a picture. We live in a celebrity-obsessed culture. Let face it, a good-looking picture will help. Think like the media. If you were Oprah, what sort of guest would you want on your show? Make your photo reflect that.

3.) Q&A with the Author—Imagine being on air and unable to answer the question just asked you. Now take that thought and twist it a bit. Imagine being a radio host, who doesn't know anything about the author and probably hasn't had time to read the book. (Trust me, they worry about this.)

Now imagine yourself in the shoes of a producer thumbing through a press kit. You'd want proof that if you give someone airtime, they're going to deliver something entertaining. Use this part to bring in the back-story of your novel, interesting facts about you, and other subjects you can be interviewed on. Hint: This page is a good place for your photo. It's inviting to see the person you're reading about.

4.) Endorsements—Don't under estimate the power. If Stephen King says this is the best book he's ever read… wouldn't you be slightly intimidated to give it a bad review, even if you were a New York Times reviewer? After all, why do agents and editors jump when another agent or editor becomes interested in you? The power of suggestion goes a long way. Here's where you can gain credibility. Hint: Stephen King does actually have to say it was the best book he's ever read to use that one.

5.) Previous Hits Page—This falls in line with your endorsement page. If Publishers Weekly says you’re the must read author of 2007, then as a reviewer, I'm going to take you a little bit more seriously. Hint: Check with the source and learn their requirements. For example: the above publication does not allow for authors to just present a portion of their review.

6.) Movie Trailer – More to come on this subject

7.) Business Card

8.) The Folder- This is the first impression. Publishers and P.R. Firms pay good money for folders that match the campaign. Talk to Office Max, look online. It's worth some of your advance money to have your book noticed.


A good attitude to take from the get go is that they are doing you the favor. Yes, they need to feed their audience. Yes, they are benefiting too. But at any given time, their desk is filled with hundreds and thousands of similar requests. It is easier for them to move onto the next candidate instead of doing your work for you.

If someone asks for your photo, it is very unprofessional to tell them to 'grab' it off your website, or if someone asks for a bio, don't expect them to type it from the back of your novel. The more ready you are, the more likely you are to become featured.

Upcoming: Where these kits are going.

Pimp My Soul

Every author in some way portrays himself in his works, even if it be against his will.~ Goethe

Frank Peretti said in a recent interview that readers can tell the journey he’s been on by the books he’s written. Like Frank, when I started writing I had no clue how much of my own personality, hopes, failures, and more than anything, struggles, would reveal themselves in my fiction.

I began my first novel, Saving Eden, in 2002. It’s the story of a woman desperate for the attention of her workaholic husband. After much neglect, she finally has had all she can take. She leaves him and gets sucked into a Wicca coven … and many temptations.

I’ve never been drawn into a Wicca coven, thankfully, but my own frustration with my husband during that time, revealed itself in my book before I even knew on a conscious level that he and I had issues needing to be worked on.

My second novel, Demon Chaser, is about a young woman who embraces her unusual calling to be a female exorcist despite the fact everyone around her thinks it’s insane. So be it, she decides, should she fear God or man?

I only realized after the thing was written, and I moved on to something new, that I was working out my call to be a novelist and the reaction of some to this “pipe dream”.

Now, I’m writing Nailed Open, a thriller about a young psychiatrist who infiltrates a cult to solve a murder. I’m clearly working out some issue, but I won’t know exactly what that is until the book is complete and I’ve gained some clarity enhancing distance.

When I read novels by other authors, what they are dealing with in their personal lives is sometimes painfully clear. Best-selling author and editor, Karen Ball, wrote The Breaking Point based in part on her own marital struggles. She wrote this in her acknowledgments of that book:

“A wise friend and gifted writer, Robin Jones Gunn, once said that when we write the books that stem from our truest passion, we find ourselves ‘floating on a sea of reluctant transparency.’ That’s certainly true of this book.”

I believe, really good fiction happens when we get emotionally naked—make ourselves known on a level our parents, spouses, children, best-friends…even ourselves… have not experienced. Sometimes when we delve into our souls, the blackness we find there can be disturbing. Sometimes our shovel clinks against the lid of an unopened treasure chest— but as novelists, it is our job to break that ground, come what may.

The unnerving part comes when we pluck what we find from the earth, hold it up and ask: “Look what I’ve found …anybody want it?”

It is a terrifying thing, for authors to pour so much of who we are into a book and then let others read it, critique it…and worse, have to pitch it to editors.

We writers love to write, but detest trying to sell our writing. Why is that? Well, I think there’s something just a little dirty feeling about bleeding our proverbial vein onto the page and then begging editors to buy our red-soaked manuscript, and later, readers to buy our books.

It’s uncomfortable to sell what can feel sacred to us, but we write to be read, and the only way that’s going to happen is by selling our work.

We must shave our legs (write a great story), grease our lips with red (allow our work to be critiqued and polished), and then when we (our manuscripts) are looking as hot as can be, we should strut along main street (attend writers conferences), and hope we’ll catch an editor’s eye.

So, stick a giant purple feather in your velvet hat and submit that manuscript. Before you know it, a Cadillac will pull up to your corner. You’ll lean into the window and hear what every writer dreams of: “Get in.”

Show Time!

Does Grandma, who lives three states away, want to hear about the baby or does she want to see photographs? Mommy threatens, but her little tyke keeps dumping the potted plants until she whips out the wooden spoon. Classmates yawn until the kid up front shoves his report on reptiles into one pocket and pulls a gecko from another. The suitor confesses his undying love, but it’s the dozen roses that cause his soul mate to sit up and take notice.

Show, don’t tell. Simple.

Except for the fact that we writers can’t literally show. As creators of illustration-free novels, we deal only in the written word. A picture may be worth a thousand words, but we’re stuck with those thousand words – as yet unwritten – and a picture dancing the two-step across our imagination where absolutely no one is ever going to see it.

Showing is that elusive hook that draws a reader into our story. It’s what keeps her turning the pages. And that, of course, is why we write in the first place: so that someone will turn the pages.

My attack on showing more and telling less is five-pronged. The process takes work. It often takes about seventy-six rewrites…

1. POINT OF VIEW – A strong point of view eliminates unnecessary telling. I’m less apt to write “Jill walked across the room” if I am watching her walk through the eyes of Jack. I know the guy adores Jill. This is a significant aspect of the story. So I get inside his head. I hear his thoughts and I feel his emotions. He tells me what he sees and in so doing he SHOWS.

And then I write: “Jill undulated toward him with the languid elegance of a giraffe.”

The secret to effective use of POV is to see through one – and only one – character’s perspective at a time, i.e. one character per scene. In the above example, I know what Jack is thinking. I don’t know what Jill is thinking unless she speaks to Jack or if she kisses him or slaps him.

In this single point-of-view approach, a writer is best able to capture EMOTION, and it is emotion that captures the reader. Without being told specifics, we learn at least three things from the way Jack sees Jill: A) Jill is graceful and has long legs; B) Jack has a bit of the poet in him; C.) Jack has the hots for Jill. We are shown not only how she moves, but we are shown his state of mind.

The best advice I ever heard about voice was from T. Davis Bunn. He said it’s best not to begin writing the story until we “hear” the character’s voice. In my own experience, this hearing is sometimes a gift. Whoosh. The voice is there inside of me. At other times, I write copious notes about a character’s life before her voice eventually emerges.

2. ACTION – Actions speak louder than words. My husband cleaning up the kitchen – all by himself – shouts without a spoken word that he loves me. God’s Word speaks volumes of His love for me, but His expression of it in Oregon’s flowering wild rhododendrons is what takes my breath away.
There is power in words that show a character doing something.

3. DETAILS – If real life is in the details, then in fake life – aka fiction – those details must be big, bigger than life. This is accomplished by using strong NOUNS and VERBS, less adjectives and even less adverbs.

When details are written effectively, characters jump off the page. And when that happens, the story grabs not so much a reader’s mental processes as her heart. Ahh…this is where we want her.

4. NIX NARRATION – When an entire scene simply tells what something looks like, it doesn’t move the plot along. It needs to be – ouch – cut. Yes, this hurts. It’s undoubtedly exquisite writing, but it doesn’t show. I recently wrote a lovely chapter. It described a room. Who else is going to care about this information?

5. OBSERVATION – We writers are blessed – or is it cursed? – with what has been called “split vision.” All of life is so rich with story MATERIAL. It’s almost impossible to engage in conversation or eavesdropping without grabbing a pen and jotting notes on the nearest surface, be it palm, linen tablecloth, or toilet paper.

Likewise, reading fiction is an opportunity to engage the split vision. I can escape into a book and at the same time study the art of writing. When a story beguiles me, I enjoy it with a part of me while another part is observing how the author creates the magic.
Showing is the stuff of observing, of being aware of the world around us.

A word of caution in closing: We don’t want to drift into overkill when it comes to showing. We are after all STORYTELLERS. Sometimes we simply must say “Susan sat on the sofa.”
On second thought, I’ve got too many S’s going there…but that’s another topic...

Happy writing.

Sally John grew up in Moline, Illinois, and married her high school honey Tim 32 years ago. They now live in southern California. A former teacher, she writes inspirational contemporary women's fiction. She has two grown children, a daughter in Chicago and a son who lives in Oregon with his wife and two daughters.

Sally's book The Beach House can be purchased through Amazon. Click here.

Her newest novel, Castles in the Sand will be out soon. You can read the review at: http://novelreviews.blogspot.com/2006/05/sally-johns-castles-in-sandreviewed.html

Author Interview ~ T.L. (Tracy) Higley

Tracy Higley started her first novel at the age of eight and has been hooked on writing ever since. After attending Philadelphia Biblical University, she earned a B.A. in English Literature at Rowan University. Tracy spent ten years writing over fifty drama presentations for church ministry. Over 10,000 people have attended drama productions she has written.
A lifelong interest in history and mythology has led Tracy to extensive research into ancient myth systems, and shaped her desire to shine the light of the gospel into the cultures of the past. She is the author of three books: Retrovirus, Marduk’s Tablet and Fallen from Babel. Tracy lives with her husband and four children in Pennsylvania.






What book or project is coming out or has come out that you’d like to tell us about?

My latest title, Fallen from Babel, is a time-travel tale and was such fun to write. If I could choose an out-of-this world ability, it would be the power to time travel. Fallen from Babel is as close as I’ve managed to come! The main character is a professor at a university who thinks he has religion figured out, until he ends up in ancient Babylon, in the center of a circle of magicians and sorcerers, and everything he’s believed gets turned upside down.


Tell us about your journey to publication. How long had you been writing before you got the call you had a contract, how you heard and what went through your head.

Once I decided to make an effort at publication, I turned out a completed manuscript in only a few months. I didn’t have that annoying awareness of my lack of knowledge to slow me down! While I started circulating that manuscript, I began the next. That first manuscript is in hiding on my hard drive now. About a year after I started writing earnestly, I went to my first writers’ conference. That proved to be the best thing for me, as I connected with published writers who gave great feedback and advice. It took about 2 and ½ years from the time I started writing until I was offered a contract. Those years were spent writing, finding an agent, and learning all I possibly could about the craft. When I got that first contract, I was truly shocked that someone wanted to take a chance on me. I still feel that way!

Do you still experience self-doubts regarding your work?

Oh, yes! I’d like to meet the person who doesn’t! Well, maybe I wouldn’t.


What mistakes have you made while seeking publication?

Waiting for things to happen, not working while I wait. I’ve learned that this business takes TIME – time for proposals to circulate, for editors to read manuscripts, for committees to meet and make decisions. Don’t wait for the phone call – get busy writing the next thing, immediately!

What’s the best advice you’ve heard on writing/publication?

Go to writers’ conferences. I resisted this advice at first, because I thought a conference would be all about schmoozing editors, and the prospect made my skin crawl. But conferences are much more about learning, connecting with other writers, getting support. I can still remember sitting around a meal at the first conference I attended, when the topic of conversation shifted to a grammatically annoying billboard we’d all seen. I remember thinking, “I’m home! These people understand me!” There are few places on earth where you can truly feel that.

What’s the worst piece of writing advice you’ve heard?

I was still in college the first time I tried to write a novel. After it was finished, I wrote a sort of “fan” letter to an author I admired, asking for some advice. She offered to read the novel I’d written. I sent it off, full of hope. She read it and promptly sent it back, basically telling me not to bother trying again. I was devastated. It took me ten more YEARS to figure out that my passion to write fiction was part of who God made me, and what I needed was to learn my craft and to practice. I wish she would have helped me see that, instead of shutting me down. The experience taught me to be so careful with less experienced writers whose work I read. If the drive to write is truly in you, soak up every bit of constructive criticism you can get, but let the destructive stuff roll right off you!


What’s something you wish you’d known earlier that might have saved you some time/frustration in the publishing business?

I think it’s that waiting thing again. The wheels of publishing grind slowly. Don’t let that fact slow you down – use it to your advantage to learn and improve while you wait.

Do you have a scripture or quote that has been speaking to you lately?

I’ve been spending some time in John 15 lately, really trying to understand what it means to abide in Christ, to be the branch to his vine. I love the way Jesus pictures this for us, the bearing of fruit in such a natural and unforced way as we abide in him. If my writing is my “fruit,” I believe it’s crucial that I understand the way it needs to be a product of my relationship with Jesus.

What are a few of your favorite books? (Not written by you.)

I am in love with every book written by Stephen Lawhead. The first time I picked up one of his books I felt as though I had fallen through a portal into another, brighter world. His books are a measuring stick for me as I write, always trying to give readers that same experience of being wholly transported.

Can you give us a view into a typical day of your writing life?

I still have little ones at home, so when I want to get writing done it needs to be outside the house. My husband and I run a business from our home, and he is so supportive in allowing me a few mornings each week to escape with my laptop to a local coffee shop. I am waiting for someone there to start asking me to pay rent!
Since I’m usually writing about historical subjects, I spend lots of time in the research phase. I’m also a heavy plotter, so the beginning of a project is usually slow but steady. I don’t set goals for words written unless I’m worried about a deadline.


If you could choose to have one strength of another writer, what would it be and from whom?

I’m fascinated by this unusual time we find ourselves in, teetering between modernism and post-modernism. I think C.S. Lewis had a real grasp of where culture was heading. He had an ability to use rationality and logic to persuade people’s minds of the truth, but also to use beauty and mystery to capture the imagination and make us long for Truth. I would love to be able to accomplish both of these aims in my own writing.


Do you have a dream for the future of your writing, something you would love to accomplish?

I would love to write novels set completely in ancient history. There aren’t enough in the Christian market, in my opinion. But God’s handprints are all over history, and we shouldn’t be afraid to pursue ancient cultures, to see what they can teach us about God’s truth.


Was there ever a time in your writing career you thought of quitting?

Uhh… last week? Yes, definitely. Between every book contract. But only because the works is grueling and full of rejection. Get past that, and you’re fine! Seriously, I’m sure any creative pursuit is always hard, no matter how much success you achieve. But if it’s what you’re made for, it’s also where you find fulfillment.

What is your favorite and least favorite part of being a writer?

Favorite: Research. I love to learn, to dive headlong into books and come up gulping for air, with my fists full of new facts.

Least favorite: Rejection. Have I mentioned that already? I’m working on separating myself a bit from my work, so that if my work is not appreciated it doesn’t send me into a cave of self-pity.

Parting words?

I read something from another favorite writer recently, Frederick Buechner. He said, "The place that God calls us is that place where the world's deep hunger and our deep desire meet."
Find this place, and the rest will take care of itself.

Here There Be Dragons

By Mike Duran











A passenger jet, while flying cross-country, encountered an electrical storm. The meteorological phenomenon completely disabled the plane’s navigational equipment. In an attempt to calm the passengers, the captain took to the intercom. “Ladies and Gentlemen,” he said. “I’ve got good news and bad news. The bad news is we have no idea where we’re going. The good news is that with this tailwind, we’re making great time.”

I was well into my forties when I finally complied with the call to write. The bad news is I have no idea where I’m going. The good news: I’m making great time.

Writers traffic in the world of intangibles. Half-hewn heroes and ideas in embryo inhabit the novelist’s noggin. Yet a strong tailwind is no guarantee that we’ll hit the mark. And to compound matters, every so often, God zaps our compass.

Saul was breezing toward infamy until God knocked him off his horse and blinded him. Years later, the recovering Pharisee – now the apostle Paul – would write, “For we walk by faith, not by sight” (II Cor. 5:7). It’s as much a statement about writing as living. We can chart a course and plot its unfolding, but any number of unexpected phenomenon could overtake us. Oh yeah, the Lord will set us on the runway and point us in the general direction. Sometimes He’ll even provide a storm or two. The problem is He’s not obligated to tell us where we’re going. Just ask Father Abraham.

“By faith Abraham obeyed when he was called to go out to the place he would afterward receive as an inheritance. And he went out, not knowing where he was going.” (Hebrews 11:8 NKJV)

Did you get that? Abraham, father of the Jewish people, fountainhead of the Christian faith, "went out, not knowing where he was going." He pulled up stakes, loaded the caravan and rolled the dice; he walked by faith and not by sight, disregarded the navigational equipment and listened instead to a still, small voice.

This “inner ear” is a good thing for aspiring authors to develop. Medieval artists were fond of depicting the Virgin Mary’s impregnation by the Holy Spirit as occurring through her ear, not her sexual organ. She received and conceived.

The same is true today: God enters us through the ear.

It’s no wonder conversion events are often described as “callings.” Fate or Providence beckons and our internal GPS goes bonkers. Suddenly our journey brings us to a crossroad, a place where even Mapquest becomes strangely irrelevant. Some great, ethereal bird is finally on our radar, and we’re bound and determined to bag it. We’ve been called, chosen; impregnated by a Grand Something and we’ve no choice but to bare the offspring.

Likewise, the “call to write” is a mysterious thing. It comes to each of us differently, but always through the ear. I still remember the day I announced to my family that I was going to begin writing. They looked at each other and shrugged. The unspoken message was, "Just keep the lawns mowed, get to work on time, and don't get weird on us." I've managed the first two.

Abraham must have felt like this – quizzical looks, second-guessing and lots of unanswered questions. I heaved my backpack over my shoulder, stood at the crossroads, raised a damp finger to the breeze…and listened for that still, small voice.

That’s when I heard the first roar.

Ancient mapmakers, when reaching the end of the known world, often drew a monster – a griffin, hydra or dragon -- to delineate the boundaries of the unexplored. “Venture this far,” they'd say, “and ye may encounter beasts. Here there be dragons.”

In the same way, my writing pursuits have been one long exploration of the unknown. Don’t get me wrong, it’s been an exciting ride. But for the most part, I’ve been flying blind. I started writing evangelistic tracts, brochures and workbooks. Next, it was skits and a stage play. For a while, I wrote "Letters to the Editor," finally reaching the pinnacle when a rant of mine was printed in the L.A. Times. I was so happy I framed the piece and hung it next to my desk. After this, I dabbled with theological essays, then some fluffy, inspirational pieces. Then it was fiction -- first short, then long. Inevitably, I settled on the fiction thing, but not without wrestling a dragon or two. At this point, I still don’t know where I’m headed…but I’m making great time.

So you’ve heard, and heeded, a similar call. Then let me ask you: Do you know where you’re going? Yes, I know where you’d like to be: On the balcony of a vacation home, overlooking dunes and breakers, laptop at your elbow, pondering your next bestseller. The truth is the call to write may take us places we would have never chosen – places of frustration, disappointment, rejection and loneliness. There will be stops and goes, successes and failures, and always changes of direction. Heck, some of us may never see the completion of our “masterpiece.” We will reach the final chapters only to hear the Master say, “Come up hither.”

In this sense, the writing journey is a microcosm of life. We may set goals and nurture dreams, but where we end up is anyone’s guess. Novel Journey frequently asks authors about their “path to publication.” The question itself is a reflection of this uncomfortable reality and, as expected, the answers are wildly diverse. The one abiding theme, however, is that there are few insta-authors. Publication is definitely a “journey” and the path un-patented.

“By faith Abraham obeyed when he was called to go out to the place he would afterward receive as an inheritance. And he went out, not knowing where he was going.” My guess is that his journey is like many of ours. We are called to leave the familiar, the comfort zones of our making, and venture into the unknown, where electrical storms crackle and our compass spins wildly, where the path disappears and a tattered sign announces: Here there be dragons.

Take heart! The pillar of fire may change course, but it will never fizzle. God may disable your navigational equipment but He will never abandon you. Despite the beastly roars, keep an ear to heaven. For though the trail corkscrews and rises into fog, like Abraham, you are never . without a Companion



Mike Duran is a writer who lives in Southern California with his wife Lisa. Mike was one of 10 authors picked for Infuze Magazine’s Best of 2005 print anthology and a finalist in the 2005 Faith in Fiction short story contest. His recent short stories have appeared in Forgotten Worlds, Infuze, Alienskin, Dragons, Knights and Angels, and non-fiction in The Matthew’s House Project and Relevant Magazine. Mike is currently seeking agenting for his first novel, What Faith Awakes. Otherwise, he inhabits obscure bookstores and rules the realm of Decompose.

Top Ten

No particularly interesting news for you today but for fun we thought we'd try a top ten list. We'll need your help. (This is meant to be tongue in cheek so please no angry emails. It's a JOKE.)

Top Ten Things you can get away with once you're a NYT best-seller.

10. Call your agent just to ask if he thinks you should get blonde highlights or red.

9. Sign other author's books with your name.





There, I got us started. Anyone have a good one?

I'll post the list next Saturday if we complete it.

Your Press Release ~ A Reflection of You

by Rebeca Seitz
Glass Road PR

Press releases – they’re the only face many media outlets will see of you. Just like your book proposal, your press release may be blithely tossed aside by its recipient, or devoured word by word.

Part of that outcome rests in the quality of the release. Since we have control of that, let’s look at ways to ensure a fabulous release is the result of your hard work.

First, ensure your release looks like an entertainment release. Add your book cover to it, in color. If you have room, add a small picture of yourself. This lets the recipient know the release isn’t about news, it’s about entertainment.

Second, write copy that informs, but does not sell. For instance, “Thousands of readers have already flocked to the stores to purchase advance copies of this book,” works better than, “Don’t miss the boat! Hurry to your neighborhood bookstore before all copies are gone!” The first sentence is informative and gives the media rep a fact to use in a story. The second is more consumer-oriented and is meant to increase sales.

Third, if you have a personal story, tell it. Did you scale Mount Everest to research your main character? Say that! Work for six months in soup kitchens to write a story about the homeless? Tell it! Media love the human interest angle of the story behind the story.

Fourth, and finally, be certain to include contact information for the media rep to get further info.

Remember, the release should be a reflection of you and your book. Whether you or your publicist writes the release, the end result should not be a form that’s been filled out. Instead, the release is you, standing with hand extended to media, saying, “Hi, nice to meet you.” Make sure when that release looks in the mirror, it’s seeing your reflection.

Linda Wichman ~ Author Interview

Biased by her Celtic heritage, some of Linda’s (Holloway) Wichman’s fondest memories were spent in imaginary worlds behind the covers of a book. She sites Charles Dickens, Jules Verne, H.G. Wells, C.S. Lewis, J.R.R. Tolkien and Mary Stewart to have influenced her. A (RWA) Romance Writers of America member, she became a Historical Romance Finalist in the 1984 (RWA) Golden Heart Contest. She is also an active affiliate of (ACFW) the American Christian Fiction Writers.

Her first published novel, Legend of the Emerald Rose, a historical fantasy romance, debuted January 2005 through Kregel Publications. In September 2005, Legend of the Emerald Rose won the ACFW 2005 Book of the Year for General Fiction at The American Christian Fiction Writers Conference in Nashville, Tennessee. More recently she became a finalist for The 2006 Christy Award — Visionary and a nominee in the 2006 International Retailers Choice Award — General Fiction.

What new book or project would you like to tell us about?

I have several, but will share two. I’m excited about the 2nd book of The Emerald Rose series, Briar’s Rose . . .The Legend Continues set during the 3rd Crusade. I adore feisty Tamar fitz Alan and Templar Knight, Somerled mac Gillebride — descendants of Shadoe and Rayn. I’m hoping all my research paid off, and the readers enjoy Stuart/Stewart lineage weaved into the ongoing legend of the Emerald Rose. 'Tis an intangible veil between truth and illusion . . .from what the eye perceives and the pure heart knows.

Also, I’m writing my first contemporary romance Catch A Falling Star. This modern story of two star-crossed lovers is infused with humor, romance, suspense, with the underlying theme of the horrific offense of incest, that often goes undetected or far worse, unpunished. I hope that besides enjoying an entertaining love story, some readers will find a healing solace from their own childhood abuse. Being a survivor of incest, I’m very much a part of the heroine, Eliza Smyth. “I’m a good girl, I am!” Eliza Doolittle –My Fair Lady.

Tell us about your publishing journey. How long had you been writing before you got a contract?

I’ve been creating imaginary characters since I was five and began to write around eight. I’m fifty-three, so you can do the math. I started to pursue publication over twenty-five years ago. It’s been a remarkable journey of learning curves, most of them positive.

How did you find out and what went through your mind?

My agent called me and sounded pretty serious, upset even, and told me to sit down. So I dropped onto a stair rung and held my breath. Next thing I heard was, “Linda, Kregel wants to offer you a contact for LER. Whatcha think?”

Think!! Who could think? I literally went brain-dead. After nearly thirty years of wanting to hear these words I was speechless! Not something that often happens to me—the speechless part. I realized I had someone other than God, my critique partners and agent who believed I could tell a good story. This meant I had to fulfill a legal contract. I almost puked. Instead, I chewed some antacids, praised God, and then kissed my husband—stupid!

You're a Christy Award finalist. How was that process? How did you find out about being a finalist?

Although, I’d won the 2005 ACFW Book of the Year award, I never expected to final in another reader contest. Then I got a ‘congratulation email’ from my ACFW friend, Ronie Kendig, but figured she was sharing someone else’s good news. When I realized she meant me, I called her to verify she wasn’t on a caffeine high. Sure enough, it was for real! Finalizing in the Christy has further left me in awe of God’s sovereignty. He is faithful.

Do you still have self-doubts about your writing?

Always! The day I stop doubting will be the day I stop writing. I know that God blessed me with this aptitude and that I am to glorify Him with every word. But I share the same doubts most writers have. There are days I read what I wrote and think, ‘Man, oh, man, this stinks.’ Still, I don’t ever want to forget that in the blink of an eye God can take away this gift. Nor do I want over-confidence to hinder my footsteps on God’s narrow path. I am blessed to have family and friends with sharp hatpins for those times my head expands beyond my shoulders. They keep me humble.

Was there ever a time in your writing career you thought of quitting?

Yes, several times. I even asked God to take this desire from me as I realized that my marriage and family were suffering because I had become obsessive about writing. However, God never took the desire away, if anything, He cultivated that aspiration even stronger. He then opened my eyes to see that my priorities had to change. Once I put Him first, family second, and writing third, I became happier and more receptive to the fact God wanted me to write.

What mistakes did you make while seeking an editor or agent?

Oy! Let me count the ways. Don’t worry I won’t. But I’d rather relate something that was more of a learning curve than a mistake. As a finalist in the RWA 1984 Golden Heart contest several agents courted me. One was Sandra Brown’s agent—you know that New York best selling author. I almost signed with the agent but when she suggested I rewrite my novel, I said no. Yes, pathetic I know—Dumb, dumb, and dumber!

She actually wanted me to switch to contemporary romance, because historical romance had been tapped out. She was right. Yet again, I said no. We parted on good terms and have spoken over the years. I now realize that experience was a double-edged sword. Had I signed with her, I probably would have been published in the secular market.

Thankfully, God knows best. I was young, green, and because I wasn’t in a solid relationship with Jesus I wouldn’t have handled success in a mature Christian manner. Back then, I was writing bodice-ripper romances—my lame justification—was that my heroes and heroines were always married before those explicit sex scenes. Sad, huh? However, God knew the condition of my heart and was patiently grooming me to write for Him. To this day I remain grateful that I don’t have the baggage of erotic romance.

However, I suggest that if a respected agent wants to partner with you, buck-up and listen to him/her, coz, they have loads more publishing experience than you, a greenhorn author.

What’s the best writing advice you’ve heard?

Read! Read! Read! It’s the best writing exercise you can practice. Remember C.S. Lewis said, “We read to know we are not alone.” But as writers we also read to know what our readership do and don’t want to read.

What’s the worst piece of writing advice you’ve ever received?

Guess I’ll go with the most recent. “I can’t believe you’re wasting your time writing another Arthurian legend story. They’ve been done to death! Who in the world is going to read that dribble?” At the time, I felt devastated and discouraged. Now I smile!

Do you have a pet peeve having to do with this biz?

Um, funny you should ask. I know I’m opening a can of worms, but here goes. As an author with a calling for outreach, I am frustrated that the CBA has cloistered itself from the mass secular market. My heart aches whenever I enter secular bookstores and find a scant handful of (Celebrity) Christian authors on the secular shelves, while the majority of us are shoved in a back corner called, ‘Inspirational Fiction.’

How in the world—literally, do we reach the lost, hungry souls who don’t frequent Christian Bookstores? Why can I find a romance with a hero/heroine that embrace Buddhism or New Age on the secular romance shelves but few Christian hero/heroines? So where should the blame fall?

Regretfully, the blames falls upon our own community of Christian publishers, authors, agents, and readers who don’t want to be linked with secular fiction, even on the store shelves. This is not a slam against edification, because I’m a huge supporter of edification fiction and read it every day. But my evangelistic heart remains restless. True, God set us a part from the world, but He didn’t intend for us not to be in the world. So, I loosely quote Francine Rivers about that very sensitive subject, “We did it to ourselves.”

I for one, commend Silhouette for placing Steeple Hill romances beside their other romance lines. Meanwhile, I continue to fantasize that someday we can enter the mission fields of secular bookstores and find our novels not just in the Inspirational section, but side-by-side a secular romance or vampire thriller. Thus, allowing non-believing readers the opportunity to choose between a well-written novel with the Message of Good News—or not. But that will never happen if we don’t make ourselves accessible to the souls God has called us reach for His namesake.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing?

That reading how-to-books, taking writing courses and workshops won’t magically make you a better writer; that only happens when you plant your derriere in front of your keyboard, apply what you’ve learned, and write every day—no matter what.

In publishing?

Agents and editors aren’t infallible. They are human beings who make mistakes just like the rest of us. Some are accountable, others aren’t. No matter how it goes down, learn to forgive, forget, and move on. And never, ever burn your bridges.

Was there ever a difficult set back that you went through in your writing career?

A few years after the RWA Golden Heart contest, I was in a car accident that resulted in a whiplash that triggered years of migraine headaches and neck pain. Eventually, I had two upper cervical surgeries and three knee surgeries. I spent about ten years not being able to write for any length of time nor pursue publication for fear I’d be unable to follow-through on a contracted deadline. During that time, God tutored me in patience, perseverance, and faithfulness.

Just when I had healed enough to write, I returned to the outside workforce to subsidize our children’s Christian high school education. I recall crying my heart out, but God planned those eight years for me to grow in my walk with Him. My experience in corporate sales exposed me to people and situations I’d never had encountered in front of my pc — more writing fodder. Again, I’m thankful to God for those growing pains and the great relationships I established.

What are a few of your favorite books?

Oy! So many. This Present Darkness, Frank Peretti. The Gleannmara Series, Linda Windsor. Arena, Karen Hancock. More recent – Dragonquest, Donita K. Paul. A Bride most Begrudging, Deeane Gist. Front Porch Princess, Kathryn Springer. Reluctant Burglar, Jill Nelson -- debuting August 2006.

What work have you done that you’re especially proud of and why?

Well, I’ve completed eight novels to date and started dozens more, but I confess that ‘Legend of the Emerald Rose’ will remain at the top of my ‘I am Proud List’ for a long time. Mostly, because it’s creative seeds were planted in me when at age ten I read, The Stone and the Sword, by T.H. White. I veraciously consumed everything on King Arthur and the Knights of the Round Table. Yet, it took about thirty-five years before I ventured to answer the question few authors have successfully pursued. What happened to Camelot after King Arthur died? The difference I believe is that my version has a happily-ever-after conclusion. At least, I hope that is how most readers feel.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

God speaks to me daily, but when I read 1 Corinthians 9:19-23 of The Message, I so related. “`Even though I am free of the demands and expectations of everyone, I have voluntarily become a servant to any and all in order to reach a wide range of people: religious, nonreligious, meticulous moralists, loose-living immoralists, the defeated, the demoralized — whoever. I didn’t take on their way of life. I kept my bearings in Christ — but I entered their world and tried to experience things from their point of view. I’ve become just about every sort of servant there is, in my attempts to lead those I meet into a God-saved life. I did all of this because of the Message. I didn’t just want to talk about it; I wanted to be in on it!”

Yeah, that pretty much describes my writing, especially my Internet, secular fanfiction stories that reach thousands of readers everyday. But that’s another story . . .

Can you give us a look into a typical day for you?

Did you say typical? Gulp. See, I’m a SOTP author, but I do have a loose routine. 6:00-6:30 a.m. I stumble down the steps into my kitchen. If I arrive there before my hubby leaves for work I make a grand entrance of perkiness, but he’s long known I collapse on the sofa and snooze another half-hour. Then, I boot up my pc and while it’s doing its ‘thing,’ I get coffee and breakfast. Next I read, answer, and generate email. I’m usually writing by 7:00 a.m.

My structured time with God remains a WIP. I prefer to do that while I drink my coffee. But when I flounder, I break around 9:00 a.m. and sit with God for a while, then back to work.

I wrote LER listening to Celtic music and Michael W. Smith’s, instrumental ‘Freedom,’ CD. Mine’s in need of replacement. Guess what’s on my wish list?

Before I write, I usually read what I wrote the day before. When I need a break, I do housework or edit my critique partner's WIP. During the summer I sit on my back porch with the laptop and write until it gets too hot, then retreat inside.

I usually have a working lunch and write until 4:00 p.m. After supper I spend time with my hubby then return to writing and wind-down around 8:00 p.m.

Do you have a word or page goal you set for each day?

No. I but I always have a date goal for the first draft — which varies. I tend to write faster and freer if I don’t have a daily word count. I know I can average 3-5 pages a day, more if I’m feeling frisky.

Are you an SOTP (seat of the pants) writer or a plotter?

SOTP. However, I am always plotting ideas and creating new novel folders. My imagination is on maximum overload. I’m A.D.D., but consider it a blessing for creativity. Don’t tell anyone, but I’ve become more structured in my old age, which scares my husband and worries my son and daughter.

What author do you especially admire and why?

C.S. Lewis. Because in a time when neither fantasy nor Christian allegory were popular, Clive crafted an unforgettable story about four children, a wardrobe, and a lion, that opened the floodgates for the rest of us. Still, it’s bittersweet that it took over 50 years for the world to publicly acknowledge this God-filled man. I like to think Jesus gave Clive an open wardrobe’s door to see how God used him for His glory in this immoral world.

What is your favorite and least favorite part of being a writer?

Favorite: I love the entire process of writing, especially the research and then the creative right brain part. I enjoy hearing from readers and writing back. I love to mentor new writers. I enjoy sharing what I’ve learned, and watching them develop into mature writers.

Least favorite: That like most artistic people I’m often not taken seriously. Many family and friends don’t consider writing an occupation, even though I’m now published.

How much marketing do you do?

Lots. I do interviews, book signings, and speaking engagements, etc. I regularly visit the local secular and Christian bookstores and know their managers. And yet, although I’m an extrovert, I’m not comfortable tooting my own horn. Go figure.

What's your favorite part of marketing?

Meeting new people.

Do you have any parting words of advice?

Today’s writers are contemporary bards. So, write the tale you’re yearning to tell. Because chances are that God branded that story on your heart long before it formed in your noggin. He is after all, the author of our lives.

An interview with ... me.

In case any of you wanted a voyeuristic view into my boring life, Gina Conroy interviewed me recently. She asked a lot of questions about homeschooling, which I used to do, and balancing the writing life, which I try to do but rarely do well. Since she was kind enough to throw me a bone and feature me, least I can do is plug it.

Here's the link: click here

Notes From the Blue Rudge Mountains Christian Writers Conference

The BRMCWC was held May 21–25, 2006 in LifeWay's conference centre in beautiful Black Mountain, NC. Author Yvonne Lehmann is the conference coordinator extraordinaire. I have attended this conference for a few years, but was unable to make it this year. Rose McCauley attended and was good enough to share her impressions with us.

Yvonne Lehman opened the gathering by making her appearance as a slow but steady turtle, encouraging us to persevere to the finish line in our journey as writers. She and many other speakers during the conference encouraged us to write our best for the Lord and gave us examples of His creativity and how we can use the power of that creativity in our writing.

Each morning opened with praise and worship led by the inspiring group Promise. Wednesday showcased a special patriotic musical offering by a youth choir and orchestra from First Baptist Church in Ada, OK. Twice McNair Wilson, a former Disney Imagineer, wowed the audience with his dynamic performances on creativity and spirituality.

The rest of our mornings were filled with continuing classes on various writing genres. The faculty was wonderful—all multi-published, award-winning authors. In the afternoons, we had a wide array of electives and were also able meet with editors and agents. Each night featured another praise and worship service and more great speakers. Tuesday night we watched a movie based on Deb Raney's book, A Vow to Cherish.

On Wednesday evening, we were treated to a banquet where the winners of the writing contests were announced. Steve Youngblood was awarded second place, and Tracy Leigh Brown won first place in the Novels Category of the contest. All first place entries were judged for the Award of Excellence and Tracy won that.

In the midst of this entire jam-packed schedule, we found time to fellowship with old friends, meet new ones, pray with others. Ridgecrest has a number of shady porches filled with swings and rockers, inviting attendees to sit and relax.

My mornings were profitably spent in a fiction mentoring clinic with Gayle Roper and six other aspiring writers. I would encourage anyone to take this very helpful class. I was able to take a couple of Ron and Janet Benrey’s inspiring classes in the afternoon.

Some highlights of the conference were: the continuing classes; Eva Marie Everson’s and Allison Bottke’s heart-wrenching testimonies; Gail Martin’s and Gayle Roper’s calls to excellence; and McNair Wilson’s comedic but thought-provoking sketches. In short, everything was a highlight for me!

I came to the conference not knowing whether I should even try to continue writing. I left with a plan, a purpose and the knowledge that God can use me to accomplish His will.

Rose McCauley is published in 4 non-fiction anthologies and is continuing to work on getting published in fiction.

Next year, the conference will be held May 20-24, 2007. Information can be found at: http://www.lifeway.com/lwc/mainpage/0,1701,M=200375,00.html - scroll down until you see Blue Ridge Mountains Christian Writers Conference.

THE PERIPATETIC NOVEL

An essay by J. Mark Bertrand











The best novels are not didactic, they are peripatetic.

The word didactic, of course, means “intended to instruct,” but it carries connotations of pedantry and moralizing. To be didactic is to wear one’s spectacles on the tip of one’s nose.

Peripatetic is an altogether more active term. Quite literally, it means “to walk.” Although the peripatetic school of philosophy was founded by Aristotle, who is said to have wandered back and forth while giving his lectures, I have always associated the term with Socrates, a thinker from the streets. I can imagine him walking and thinking, thinking and walking, working out a line of argument as he rambles, bringing a pattern out of confusion.

In On Moral Fiction, John Gardner argues that just as scientists have their ‘scientific method,’ fiction has its method, too. “Fiction goes after understanding,” he writes, “by capturing, though imitation, ‘the ineluctable modality of the world’—that is, characters who subtly embody values and who test them, with clear but inexpressible results, in action.”

In other words, just as the scientist validates theories through experiment, the novelist tests ideas through character and action. He works them out through the process of story, thinking on his feet.

That is peripatetic fiction.

“What would happen if….”

It’s the question that drives all fiction.

That ‘if’ can contain a person, a situation, or even an entire world. The ‘if’ is the given, but it isn’t the story. The story is the ‘what would happen,’ the working out of the ‘if’ through character and plot.

As a novelist, I can know the ‘if’ before I begin to write, but I never fully know the ‘what would happen’ until it has happened, until I’ve worked it all out on the page. The ‘if’ is to me what a hypothesis is to a scientist—good as far as it goes, but useful only as a starting point. To turn the ‘if’ into a novel, I have to apply my method.

“I didn’t know what I really thought until I tried to write it down.”

How many times have you heard this before? Perhaps the simplest way for the average person to discover what she really thinks about a subject is to have to write it down. How many times has the blank page or blinking cursor clarified a muddled mind? How many of us begin with the intention of setting the world straight, only to find once the words are down that we have nothing really clever or useful to add to the conversation?

The same thing happens with writing. Sometimes an ‘if’ never develops into a ‘what would happen’—at least, not in my hands. I’ve had plenty of ideas that would be perfect for someone else to write, but only a few that have worked perfectly for me. Not because I couldn’t think of anything to write, but because I couldn’t think of anything different to write.

If the writing comes too easily, if a chapter seems to be “writing itself,” that’s often a sign that the author is channeling stale ideas, plugging in scenes and characters she’s seen a thousand times before. That’s not so difficult. Most people can jumble the familiar pieces and reassemble them in a reasonable way. Some make a living at it.

Good for them.

The test of a peripatetic novelist, though, is that she works things out for herself. She doesn’t borrow from the public domain if she can help it.

“Begin with the end in mind.”

You can write without taking such chances, of course. To borrow a phrase from Stephen Covey, you can “begin with the end in mind,” skipping over the process of testing. Maybe the result will be didactic, and maybe it won’t. But it will never be peripatetic, because the peripatetic novel must be worked out. It must be packed and unpacked, layered and fractured and puttied over. It is a disarmingly complex thing, because it involves the whole engagement of a human mind—the author’s. Which is why peripatetic novels often require the whole engagement of the reader’s mind to appreciate—something many novels simply do not require.

“Nihil est in intellectu quod non prius in sensu.”

This is the axiom of the peripatetic school of philosophy. “Nothing is in the intellect that was not first in the senses.” A warrant for empiricism, certainly, but also not a bad piece of advice for novelists. Ours is not an abstract labor. We deal in particulars, in the realm of the senses. We create scenes by observing details and mannerisms, eschewing arguments in favor of images and impressions.

At some point, every novelist sets aside her notes and says, “Let’s run with this and just see what happens.” I doubt there are very many writers, for example, who ruthlessly outline individual scenes in advance. Most of us are content to bring characters together in a particular place with only the vaguest notion of what needs to result, and we’re prepared to make do if an entirely different, unexpected outcome follows.

Peripatetic writing applies that same willingness to the entire project. The novelist says, “These are my ideas. These are the characters who subtly embody them, the people I will test through action. Now, let’s see what happens.” The incidents of plot, the moral choices of heroes and villains, all of it becomes a working out of ideas, a process of discovery in which the author finds out what she really thinks. Whenever the results seem stale, when the paths are too predictable, too familiar, the peripatetic novelist backs up and tries again, dealing as much as possible with raw materials and avoiding pre-manufactured characters and plots.

In essence, the novelist’s method is incarnational. When Gardner talks about the relationship between character and idea, he doesn’t say that characters “stand for” or “represent” certain ideas. Instead, he uses the word “embody.” To embody an idea is to pull it down from the ether of abstraction and give it physical presence, to locate it in the tangible world, to situate it in the aforementioned realm of the senses.

The process ought to hold great mystery for Christian novelists, who profess faith in the word made flesh. As a metaphor, incarnation has been applied to the arts by Christian aestheticians for some time now, but it seems particularly apropos in fiction. Embodiment is essential to our creed. We shuffle off this mortal coil in hope of a happy return. Deep down we have this conviction that things aren’t meant to be abstract, so an art form that depends on making them solid serves us well.

“...clear but inexpressible…”

So the peripatetic novel is a laboratory where ideas are tested and conclusions of one sort or another are drawn. Gardner says these results are clear, but they are also inexpressible. This is why book discussions, as rewarding as they are, tend to be inconclusive affairs. Readers can’t help feeling that when they reduce their experience of the novel to an ‘opinion,’ they have failed to do justice to what really happened on the page. The book’s truth can’t be easily distilled into a slogan—if that were possible, the author wouldn’t have needed to write a novel to express himself.

Of course, we have read more than our fair share of books that can be reduced to slogans. (There is even a school of thought in publishing that holds that any book that can’t be so reduced—then transferred to an index card, a business card, or the head of pin, depending on the theorist—is not, commercially speaking, even worth writing.) But these were not peripatetic novels. They were not records of an author’s search for truth. They were merely vehicles for a truth he already possessed.

The painter Edward Knippers has something interesting to say about the relationship of art to the art object—in this case, the relationship of the idea to the story. “With propaganda,” he writes, “I can look at the art object, get the idea, and then have the idea with no further reference to the art object. There is no longer any symbiotic relationship between the idea and the object. I think fine art has a symbiotic relationship with the object. You cannot have the meaning totally separate from the object at hand.”

This comes from Knippers’ essay “Subject and Theme” collected in It Was Good: Making Art to the Glory of God. The symbiotic relationship between art and object, between the message and its means of expression, is what makes the truth of a peripatetic novel both clear and inexpressible. When the truth is distilled, like flesh pulled away from bone, it ceases to be what it was. In a sense, peripatetic novels lend themselves to interpretation by resisting the most definitive pronouncements.

I’ve been re-reading a fine example of the peripatetic novel recently, Walker Percy’s The Moviegoer. A few years ago, some friends got together and decided to read every book on the Modern Library Top 100 list, starting with #100 and working our way up. The Moviegoer is #60, a nice round number that gives those of us who’ve read all or most of the intervening books a real sense of accomplishment. Seven of us gathered for the Percy discussion, and everyone loved the book. We had a hard time, though, accounting for how it kept our interest. There’s a lot of alienation and apathy, but not a lot of action. What was it that kept the book moving forward?

My theory was simple enough. The Moviegoer is that rare thing, a novel of ideas that, like a math problem, shows its work. Binx Bolling, the smug, detached but somehow endearing protagonist, has undertaken a philosophical search, and Percy seems to have immersed himself in the search as well. As a result—and I can’t even begin to explain how this happens—the reader joins the search, too, at least in sympathy. Binx walks and talks his way through a problem, and it’s Percy walking and talking through him. Because of that deep commitment of artist to art, the reader finds himself walking and talking, as well, without ever having made the decision to do so.

It is a remarkable feat of peripatetic writing, a better illumination of this line of thought than anything I could offer (which is why I mention it now, at the end of my piece, and not at the beginning, which would have made my musings irrelevant).
Of course, what the method produces when applied by me or your will look completely different than Percy’s clear, inexpressible result. That’s the method’s beauty.

Peripatetic novels have a process in common, not an outcome. They don’t look alike. (Who would want them to?) The only thing they share, really, is a high order of creative engagement between the novelist and his work, and a willingness to discover unanticipated conclusions.
And all it takes to write one, at the end of the day, is a willingness to walk.


J. Mark Bertrand is a writer who lives with his wife Laurie in Houston, Texas. He has a BA in English from Union University and an MFA in Creative Writing from the University of Houston, where he worked as production editor of the literary magazine Gulf Coast. For several years, he served on the board of a non-profit organization that promoted literature, theology, culture studies and fellowship in Houston. Now, in addition to teaching on the faculty of Worldview Academy, an academic summer camp for high school students, he is the fiction editor at Relief Journal. Mark's first novel, The Pattern of Wounds, is now being shopped around for publication. His recent fiction has appeared in The New Pantagruel, Hardluck Stories and InFuze Magazine, recent nonfiction in The Wittenburg Door and Fire By Nite. His flash fiction has appeared in Flashing in the Gutters. His story "Strings" is forthcoming in The Ankeny Briefcase.

Author Interview ~ Bob Mitchell

Bob Mitchell is the author of three nonfiction books about sports: The Heart Has Its Reasons: Reflections on Sports and Life, The Tao of Sports, and How My Mother Accidentally Tossed Out My Entire Baseball-Card Collection (and Other Sports Stories).
Mitchell studied at Williams (B.A., Phi Beta Kappa, magna cum laude), Columbia (M.A. in French Literature, Woodrow Wilson fellow), and Harvard (Ph.D. in French and Comparative Literature). He spent a year teaching in France on a Fulbright fellowship and was a French professor for eleven years at Harvard, Purdue, and Ohio State, during which time he published four books on nineteenth- and twentieth-century French poetry.






Your novel, Match Made in Heaven, has an unusual premise. Can you tell us about it and what inspired it?

Certainly. In both my novels I try to tell a story that’s never been told before, that doesn’t fit into any literary category, that is different, unusual, startling. Match Made in Heaven is such a concept. It’s about a fifty-year-old Harvard professor (Elliott Goodman) who is being rushed to the OR as he’s having a massive heart attack. He pleads for his life to be saved, and, as luck would have it, God appears on the OR ceiling (dressed in a burgundy golf shirt and tan dockers) and asks Elliott why He should save him.

When the Almighty receives no meaningful reply, He gives Elliott one chance at salvation, challenging him to an 18-hole golf match. Elliott discovers that in His wisdom, God will send down eighteen substitutes, one per hole, to play against him. So, with his life at stake, he ends up playing against eighteen fabulous characters from history: Leonardo da Vinci, W.C. Fields, Moses, John Lennon, Freud, Poe, Socrates…well, you get the picture.

The novel is all about the life lessons Elliott learns from these amazing characters and from the amazing game of golf. At a deeper level, it’s really about why a human life is worth saving and what is so precious about human existence here on earth. The inspiration behind the story is, of course, the old apothegm, “write about what you know about.”

And the three major themes running through my life have been 1. a mad passion for sports, 2. a mad passion for knowledge (I’ve been studying and teaching history, literature, art, music, philosophy, etc. for most of my adult life), and 3. (sadly) a history of heart disease (I’ve had five heart surgeries). These themes have been incubating for over fifty years and finally converged in the conception of this book.

The admixture of these very disparate but intensely passionate parts of my life make me, I think, “uniquely qualified” to write such a book. And, in the final analysis, I think that these two powerful criteria —coming up with a unique, fascinating story and being the only person on the planet who is qualified to write it—are the sine qua nons for writing a compelling and distinctive novel.


What feedback have you received, negative or positive, regarding your portrayal of God or the overall theme of the book?

I have received no negative feedback. There will no doubt be some at some point, and I must say that it doesn’t concern me in the least. I write mainly for myself, and I value the opinions of my wife and my close friends and my publishing team and people I respect and admire. And so far, these people have unanimously agreed that the concept of the book is unique and compelling. Which I knew in my gut from the start, but it’s always nice to hear it from those you respect.

As far as my “portrayal of God goes,” I don’t feel that I portray God at all. He’s a character in the book who appears briefly in the beginning and the end, and he’s the vehicle who allows the golf match to occur in the first place. I guess I do describe him with a wink in my eye (yet respectfully), but it was not my intention to get into his character or deeper nature.


What would you say is the predominant message the reader will glean from reading Match Made in Heaven?

More than glean! The reader will clearly take away a bunch of valuable things from reading the book. Mostly, that life is indeed worth living, that each one of our lives is rich and full and worthy of being lived if we just look inside ourselves. There are so many lovely things about human beings that emerge from playing the game of golf (which is the ultimate sporting metaphor for life), and much to be learned. Mostly that ya gotta have heart.

It is a book about the triumph of the spirit when it is “up against it.” It is about courage and resilience and limits and humility and joy and a lot more. And that’s why not only people who are nuts about golf will enjoy it, but also people who aren’t especially interested in the game. That’s what is so satisfying, for me. I’ve in fact converted a number of people who “detest golf” (their own words), yet who have really loved the book. Go figure.

What made you decide to write the characters using unusual dialogue choices, like God saying, “Ciao!”, or Leonardo da Vinci, “Bingo!” etc.?

Once again, I think when you write fiction, you have an obligation not to use clichés but to describe people and things in your own, “new” language, like no one else before you.

(Btw, that is why I think that the issue of plagiarism in fiction writing is so
disgustingly repellent. Not just because it is a morally reprehensible act,
but because it goes against the very reason why one writes fiction—to be
creative and different, to describe and express the world in a uniquely personal
way that changes the way people see it, i.e., in the ordinary and expected
way. But I digress….)

In this case—and to answer your question—I wanted to describe the characters in the book, including the Almighty, in a way that would be both consistent with what I know about them, historically and from their writing or creations, and also in an idiosyncratic way that would make them entertaining and distinctive. (Besides being serious, this book is great fun!) Ergo, God says “Ciao!” and Leonardo speaks with a sprightly tongue and Moses has a New York accent and Freud is cranky and Joan of Arc curses in peasant French and Picasso lisps and Beethoven expresses himself in musical notes (being deaf) and Shakespeare (and Elliott, in that chapter) speak in iambic pentameter and Babe Ruth is continuously burping and Ben Hogan doesn’t speak at all.

This “quirkiness” gives the book, I think, a wonderful vivacity and humor that, hopefully, will make the reader want to turn the pages to hear and see more.

You have a juicy endorsement from James Patterson on the cover. How did that come about?

Blurbs are very tough to get. Many of the blurbs I was able to get for the back cover came as a result of networking and lots of hard work (plus, if I may say so, a great product!). Some came from people like former Senator Bill Bradley and sportscaster Bob Costas, who have both read and liked a number of previous books I have written.

In the case of Patterson, it happens that we were writer colleagues years ago at a major New York advertising agency. I had fond memories and thought I’d contact him. He’s also a golf nut and a very bright man, and I thought that the combination of the cultural subject matter and the golf would appeal to him. Obviously it did, and he was good enough to write me a superb blurb for the front cover. Proving that you never know what will happen if you don’t try.

Where did you learn to write fiction?

I didn’t. Maybe I differ with a lot of writers on this, but (for me at least) I don’t think you can learn to write. Not really. I think you can improve yourself and learn things about the craft of writing. But for me, writing is a desperately personal and devastatingly difficult act, and to do it well, you have to have an extremely well-developed gut. By that, I mean an inner instinct or “voice” that tells you, unfailingly, that this is the right word and not that one. That this is the right rhythm, the right tone. I’ve never been to a writer’s conference. I don’t think this inner quality (which we all have but is better developed in some) is something you can “pick up” or learn.

In my case, I didn’t learn to write fiction; the instinct and the fire were always there. It took me sixty years to write my first novel (I just finished my second), but despite that fact, I have been writing fiction my entire life, in a sense, been incubating thoughts and ideas and words and feelings and my inner writer’s voice for a very long time. I’ve always had the instinct necessary to write in this form, but my life has never given me the luxury of working full-time on it until now.

So, to answer the question, where? I learned to write fiction inside of me, in my gut, which I trust completely and implicitly. The French philosopher Blaise Pascal (speaking of it in a purely religious sense) called this inner instinct coeur (“heart”), when he said (my translation) “The heart has its reasons that Reason doesn’t have a clue about.” For me, my coeur (literally and figuratively!) is the closest to God I can get. Not being a “religious” person, I am, however, deeply spiritual. And as far as writing is concerned, this inner instinct about the right thing to do is as close to a moral imperative as I can get my mind around. It is my version of a higher being, and, happily I think, it can be found right inside of me! It is what pushes me forward in my writing and makes it uniquely mine, and of that I am extremely proud.

What mistakes have you made while seeking publication?

Ah. You know, I don’t generally think in terms of “mistakes” or negatives. When I make mistakes, they are for me simply ways to get to a positive. (Lao-tzu said it best in his Tao Te Ching: “Failure is an opportunity.”) In the case of Match Made in Heaven, though, I can honestly say that it went absolutely, well, as Linda Richman of SNL would say, “like buttah”! I was very lucky to have begun the process with an absolutely amazing agent, Joëlle Delbourgo, who championed the book from the very beginning. And then, she sold the book to an old friend and colleague of hers, Michaela Hamilton at Kensington, who is equally amazing as my editor. Both of these women have been dreams to work with—supportive, inclusive, positive, enthusiastic. The book, just out in early May, is already in its second printing, has been translated into five languages and counting, has terrific distribution, seems to be selling well… No, I can’t think of any mistakes in this case!

What’s the best advice you’ve heard on writing/publication?

As it happens, I’m not a big fan of advice. In general, I trust my gut, my coeur (as I mentioned above), rather than listening to what others have to say. Why? Because it is my experience that matters in my writing, my instincts, my voice. Of course, I listen all the time, try to be receptive. But I just think that you can really make a mistake by listening to what others tell you what to do! But I feel compelled to answer your question anyway, so I will.

Probably the only advice I really treasure on writing (publishing is another matter, which I won’t get into now) is that of one of the great writers of all time, the German poet Rainer Maria Rilke. In his book Letters to a Young Poet (I recommend this to all writers, despite what I said above!), Rilke tells the young poet Kappus the following, which I’ve always taken to heart (so to speak):

“This most of all: ask yourself in the most silent hour of your night: must
I write? Dig into yourself for a deep answer. And if this answer rings
out in assent, if you meet this solemn question with a strong, simple “I must,” then build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse.”

Why do I think this is great advice? Because too many writers don’t appreciate how very difficult it is to write—NO!, not only don’t appreciate it, but don’t LOVE this very difficulty!

There’s a Latin aphorism I love, per aspera ad astra: “to the stars through adversity.” This is what writing is all about. You must love the process, the struggle. Too many writers write for the wrong reasons—money, fame, glitter, to see their name in print, whatever—instead of taking Rilke to heart: If you write, you have to be writing because you must write. Otherwise, you are in for a rude awakening!

What’s the worst piece of writing advice you’ve heard?

Oh, most of what I hear isn’t really worth repeating here! I suppose anyone who tells you that you are writing for an audience, for a nameless, faceless crowd out there. For me, I write for myself, and everything after that will take care of itself. I don’t write to please anyone—not my wife or my agent or my editor or my readers. Of course, I love it when all of these people love what I do and support my efforts, but to be motivated to please anyone but your inner self is, to me, treachery. If you please yourself and your coeur, the love and approval (and sales!) will follow. To paraphrase Field of Dreams, “write it, and they will come!”

Is there a particularly difficult setback that you’ve gone through in your writing career you are willing to share?

Again, per aspera ad astra! I hope that whatever setbacks I have gone through were all learning experiences and not really setbacks. Remember: “Failure is an opportunity”! I guess the biggest “setback” of note, from which I learned a valuable lesson, is that before my present agent, I had another one, who was not good for me. Didn’t share my vision or my passion for writing. Didn’t have the right contacts. Und so weider…. I was with him for over a year (for another, nonfiction project), and I finally decided to find someone else.

When I (my wife, actually) revived Match Made in Heaven from a dusty shelf, I sent the two chapters I’d written to my new agent, Joëlle, and the rest is history. So my advice to writers, if they care to listen, is to not settle until they find an agent who shares their vision and their passion. (It also helps to have an agent who knows the business like the back of his/her hand, like Joëlle does: She was a very successful editor and publisher, on the other side of the publishing coin, for twenty-five years!)

What are a few of your favorite books? (Not written by you.)

As it happens, I don’t read much “popular” fiction. I received a wonderful liberal arts education (Williams, Columbia, Harvard) and learned to love the classics, and that is what I still read today. They are the best books ever written (hence, “classics”!). Among my favorites are Flaubert’s Madame Bovary, Tolstoy’s War and Peace, Dostoyevsky’s Crime and Punishment, Cervantes’s Don Quixote, Proust’s epic, A la recherche du temps perdu, and anything by Shakespeare or Dickens. As far as poetry goes, I love Dante, Mallarmé, Valéry, Rilke, Neruda, Dylan Thomas, Wallace Stevens, and Hart Crane, among many others.

What piece of writing have you done that you’re particularly proud of and why?

Actually, both novels I’ve written: Match Made in Heaven and my new one, The Secrets of Solomon Stein. For many reasons, but chiefly because I think I have created, in both cases, books that are very different, in concept and plot and style, from anything else ever done in the history of writing. And I hope to continue to do this in future novels.

Do you have a pet peeve having to do with this biz?

No, not really. Although I am active in many of the “post-scriptural” activities (production, marketing, etc.), I try not to have “peeves.” Mostly because I know that publishing is a business, and a tough one, and I am not a business person per se (either by temperament or training) and whatever happens in that arena is out of my control, or in the control of my editor or publishing house or agent. Which makes me think of another great quote from the Tao Te Ching, one that I really love: “Do your work, then step back. The only path to serenity.” And anyway, for me, peeves suck out your energy, which you should be expending on your writing! So I concentrate on my writing, period, and leave the rest to the publishing pros.

Can you give us a view into a typical day of your writing life?

Sure. Typically, I awake at around 2-3AM. I grind my coffee beans the night before, so I don’t wake up my wife. I sip my coffee slowly and work at my laptop, or, longhand, with my various pens and writing pads, until about 8AM. A lot of this time I am either writing or, more important, incubating. Plot ideas, structure, scenes, dialogue, character development... Not to sound Zen, but for me, the act of nonwriting is maybe even more important than the actual act of writing. Then breakfast and conversation and reading the paper with my wife, Susan, until about 10AM. Then, I write from 10AM to 5PM, with a bunch of breaks, including three walks with my two Labrador retrievers (Koslo and _Mocha), situps, rollerblading, and maybe twice a week various errands in town. By 5PM, I will have been engaged in the act of writing for roughly ten hours, and by this time, my brain is fried.

This is the perfect time to pour myself a nice Balvenie single-malt Scotch (four ice cubes, splash of soda—well, you asked!), sit on my bed with the pages I have written that day on my lap, watch the news or a game on TV, and edit. I do all my editing at the end of the day, never while I am writing. It is a different discipline, which can impede the creative process. I find I can do it well while relaxing after the struggle of cogitating and writing is done. Then dinner with my wife, etc., etc. Go to sleep around 10PM, then start all over again at 2-3AM the next day…

If you could choose to have one strength of another writer, what would it be and from whom?

Probably Dickens, who could create idiosyncratic, unforgettable characters like no one else, before or since. Mind you , I do not covet or try to emulate! But I do admire and love Dickens so much and appreciate his enormous talent in this particular area.

Do you have a dream for the future of your writing, something you would love to accomplish?

No. Well, I just hope to be able to continue writing, to continue to love the entire process of struggle, incubation, cogitation, struggle, creation. It is absolutely awesome. I have accomplished everything in loving this incredible act, and, as I said earlier, after that, things will take care of themselves. I think it is a mistake to want to “accomplish” anything. What? Have a bestseller? Write the Great American Novel? Make lots of money? No, I am doing what I love to do, and that is the only thing I can control.

Was there ever a time in your writing career you thought of quitting?

Never, never, never, never, never. Quit doing something I adore? Writing is an end in itself for me, so why quit something that gives me such incredible pleasure and meaning for my life? That makes me happy—eager!—to get up every morning? Now, that doesn’t make sense, does it?

What is your favorite and least favorite part of being a writer?

I’ll take this in reverse order. I have no least favorite part. Believe it or not, I love it all, and that, for me, is the absolute key (that’s the “favorite part” part). If you don’t love the “least favorite” parts, then you don’t love the process. If you don’t love the frustrations and the setbacks and the failures and the rejections, then you don’t understand the magic. You’ve got to love it, warts and all, because it is that difficult! So I see writing as all positive, all growth and learning and joy.

How much marketing do you do? Any advice in this area?

I have been very active in marketing the book, and my editor has, happily, encouraged me to be proactive in this vital area. From seeking blurbs to doing signings and readings to hiring and working with publicists to doing interviews and feature articles to looking into film opportunities to consulting with the director on the making of the audiotape to creating a website (www.bobmitchellbooks.com), I have been encouraged to become involved in all of these necessary acts of love.

Advice? Again, this is a very personal matter, but I’d only say that you should do everything in your power to get the issue of your love, the product of your passion, the offspring of your suffering…out there. Many writers tend to be shy and unaggressive, I guess, but (I am putting aside my Rilke cap and donning my Edward G. Robinson one now) publishing is a business, y’see, yeah, and ya gotta be aggressive, baby, ya gotta get out there an’ fight an’ scrap an’ claw, y’see, yeah…

Parting words?

For the first time in my life, I am speechless! No, just kidding. Not to repeat myself, but writing, like many other things in life, is all about passion. If you don’t have it, then it is far too difficult an enterprise to take up and be serious about. Without this passion, this love for language, for self-_expression, it is just all pain and suffering, period, as an end instead of a means. It’s funny, but the word passion (like the word patience!) comes from the Greek pathein and the Latin pati, “to suffer.” (Ya gotta love it!) I rest my case.

Listen and be Heard

Hi all. With some changes coming, I thought I should probably prepare you.

One of the biggest complaints CBA authors have is being stuck on a shelf labeled "religious fiction" at the back of the bookstore.

Do we want to be read by only Christians?

No. Of course not. Wouldn't be love to be read by everyone? Absolutely.

We want to see that happen at Novel Journey. One of our goals in fact is to get the word out about CBA fiction to people who would never go into a Christian book store.

But if you want to be read outside the choir, you must be willing to listen to people who may not share your views. In order to be heard, you must be willing to listen.

Not all the books we review or authors we interview are CBA authors. Not all are Christians.

We will do our best to stay away from anything too shady, of course, but we understand that you as adults will be discerning with what you read.

When I was new to Christ, I wanted the whole world to know about Him. I would get this wild look in my eyes, probably even had drool running down my chin, as I spouted the gospel, whether my victim wanted to hear it or not.

This method was not particularly effective.

Then I read a wonderful book called, How to Give Away Your Faith. It taught me before I ever open my mouth to share what I believe, I should ask, "What do you believe?" ... and then listen.

Want to share your faith? Then let others share what they believe. Not all views that will be expressed by interviewees will we agree on ... but in order to be heard by others outside the choir, we must also be willing to listen to those outside the choir.

God bless!

S'up Saturday

Durham, NC to host Faith-Based Arts Conference: Click here for more information.

An interesting article from World Mag: here.


Some commentary regarding a Left Behind type video game I've never heard of until now: here.


What's new in our little circle of the world? Well, fellow aspiring novelist,
Cindy Sproles, just landed her first newspaper column. The cool part was they came to her.

Congratulations Cindy!

Chris Well's 'first chapter splashed all over the web' event did quite well. According to Technorati, it was one of the most discussed books on-line that day.

Way to go Chris!

Personally, I'm moving along quite nicely on my psychological thriller. It took me an entire week to write five pages. It was a pivotal chapter and I've grown quite anal in my wordsmithing, which I do believe is a good thing. The writing is heads above anything I've ever done and I'm getting my characters in so deep I'm going to have trouble getting them back out. Also a good thing.

While my second novel, Demon Chaser, is sitting on a few editors computers, I pitched this new work, (Nailed Open), to a certain publishing house. As always I hope, but expect nothing. One day I'll be pleasantly surprised ... God willing.

I'm reading Melanie Well's second novel, The Soul Hunter and absolutely loving her style. I'd heard from a couple people in the business that her books were similar in style and tone to mine. I'll take that as a HUGE compliment. There are big differences in the way we write, but I see what they're saying. She and I write in the same genre, are probably around the same age, and are both intelligent donkeys (aka smart a**'es), so ...

Ane Mulligan is working hard on her latest wip, (her best women's fiction novel yet!) and looking into getting agented. Her work is so strong and she has so many publishing possibilities, I'd think they'd be beating down her door, but this business is a strange creature.

Jessica Dotta is working hard for many of you on publicity campaigns. Knowing some of what this woman does behind the scenes, she works ten times harder than you'd ever imagine. When a best-friend who knows what really goes on says: "I'd want her for my publicist", that should say something. Also, as Jessica's agent pitches her historical suspense trilogy (which honestly is one of the finest pieces of writing and story-telling I've ever read), she is hard at work editing the second in the series. I hope these books sell. You all absolutely HAVE to read them. Amazing, in a Gone with the Wind kind of way. I kid you not!

That's it for us. So, bloggers, any of you have interesting news?
Heck, it doesn't even have to be all that interesting. Tell us what you're up to in your writing life. You know we live for this kind of thing.

Your Publicist and You

When we started fiction publicity 101, Mary DeMuth made an excellent statement in reply to my first post.

She stated: "I did receive some good feedback from my other publicist. He told me that I had been a good client. I asked him what that meant since I had never done this publicity thing before. He said: because you return emails, because when we ask for a spin-off article, you write it that day, because you were willing to do any interview. A good relationship with a publicist, then, is a two-way street. A publicist can only do his/her job to the degree that you cooperate."

She's absolutely right. By making yourself readily available, you allow your publicist to open more doors.

So, how easy was that? Just go help your publicist. Don't you just love those pat answers. Okay, okay, so maybe it's not that easy, especially if you don't understand what it is a publicist does.

So let's break this down. As discussed, the marketing department is focusing on the paid placement—the prominent shelf space, the advertisements in magazines and newspapers, and etc. Your publicist, however, is working to obtain media coverage, which is free.

Like marketing, they are going to determine who your customer is and focus on how best to reach them--what shows they watch, what magazines they read. . . you get the picture. They are going to determine what about you or your book will pique interest with reviewers, editors, and/or producers. They are keeping tabs on pop-culture and the news, as well as networking to develop relationships within the media. They are also creating opportunities and not just waiting for them (think contests and book signings.)

The more your publicist knows about you, the story behind your novel, your background, and your hobbies, the better able they are to spin a story to garner media interest. A good way to start your relationship is to discuss your expectations for the campaign and to make yourself readily available.

Coming up, we'll discuss the tools you can supply your publicist with and the components of a press kit for those working their own publicity.

Author Interview ~ Karen Hancock

Karen’s first novel, Arena, won the Christy Award for Excellence in Christian Fiction, as did Light of Eidon and The Shadow Within, Books One and Two in her fantasy series LEGENDS OF THE GUARDIAN KING. Now the third volume of that series, Shadow Over Kiriath, has also been nominated for the award. Karen graduated from the University of Arizona with bachelor's degrees in Biology and Wildlife Biology. Along with writing, she is a semi-professional watercolorist and has exhibited her work in a number of national juried shows. She resides with her husband in Arizona.

What new book or project would you like to tell us about?

My most recent release (Nov 05) is Shadow Over Kiriath, book three in my four-volume adult fantasy series, Legends of the Guardian-King. It continues the story of Abramm Kalladorne begun in book one, The Light of Eidon. Betrayed into slavery by his own brother in that first book, Abramm has escaped and returned to his homeland to claim the crown he thought he’d never wear. In Shadow Over Kiriath, he finally walks into the destiny Eidon has made for him as a king, and finds it is no easy walk. Eidon’s enemies have now become his, and will do anything to bring him down. Great blessings are in store for him, but they come wrapped in a mantle of conflict and loss that test his faith to the limit.

I confess, of all my characters I like Abramm the best. I love the way he has grown and strengthened, both spiritually and humanly as the series has progressed – especially since I’ve had to grow with him to even write about it. There’s no way I could have done justice to these latter books twenty years ago. In that, I see God’s wisdom and graciousness in making me wait as long as He did to see them published.

Tell us about your publishing journey. How long had you been writing before you got a contract? How did you find out and what went through your mind?

I started writing what would become the Legends of the Guardian-King series about 26 years before my first book sold. From the beginning, my intent had always been to write Christian allegory seated in a fantasy or science fictional milieu, and that’s what I did.

Once I’d completed the first Guardian-King book (The Light of Eidon), I landed an agent fairly quickly in the ABA and while I worked on the second book, she sent the manuscript around. Alas, no one bit, and eventually we parted ways.

I rewrote the first book from scratch and found another agent, a former editor with one of the bigger SF/F publishers. I loved her enthusiasm for my work, but numerous factors contributed to her having to withdraw from the business six months later. By then the market was saturated with the type of fantasy I was writing, I was advised to try something different.

Alternate world stories were in, so I decided to do one of those. Since I was homeschooling at the time, it took me a number of years to complete Arena, the story of a young woman who volunteers for a psychology experiment that turns out to be much more than she bargained for... When I started submitting though, it bounced off desks in the general market.

By then I had realized my primary interest lay in edifying the Body of Christ, so I attended the Mt. Hermon Christian writer’s conference where I met Bethany House editor, Steve Laube. He told me to cut 20,000 words and send him the manuscript. A year and a half later, Bethany House bought Arena.

Steve told me he’d be presenting the book on a specific day, so I knew it was being discussed, and was praying for God’s will in the matter. Steve called me on his cell phone in the early afternoon that day as he drove from one meeting to another: “How’d you like to be a Bethany House author?” I laughed and said, “Ah, it went well.” He replied, “It went very well.”

I was weirdly relaxed and grateful ... maybe it was shock. In any case, I think it took me two or three years to believe it was all really happening, partly because they didn’t publish it for another year and a half.

As for Legends of the Guardian-King, Bethany House signed me to a four-book contract before Arena even came out based on the pre-release reviews that were coming in. That was the sale that had me giddy and jumping around the house in astonished celebration after I hung up the phone!

You're a Christy Award finalist. How was that process? How did you find out about being a finalist?

Shadow Over Kiriath, volume three in the Legends series, and the book that is nominated, released last November, and Bethany House would have submitted it in December to the Christy Awards committee. I think they have about ten judges for each category (Visionary, Historical, Contemporary, etc). These people are widely read and include reviewers, librarians, booksellers, and others active in the industry.

They read and score the different fictional elements of each book (characterization, theme, plot, pace, etc) based on a supplied scoring sheet, which is then turned in to the committee. An independent group eventually tallies the points and ranks the winners.

While all this was happening, I remained blissfully unaware, even of the fact that Shadow Over Kiriath had been submitted. The first time I knew otherwise was when my editor called to tell me that it had been nominated.

Do you still have self-doubts about your writing?

I used to have terrible self-doubts, but I’m getting better about that, reminding myself constantly that God has chosen me to do what I’m doing and given me the ability to carry it out. Not only that, He’s promised to help me, and every day I hold Him to that promise!

It also helps that I’m growing more familiar with my own creative process and now know that when I’m in the middle of the writing itself – especially the first draft – I cannot see if what I’ve done is any good or not. Most of the time, even when it seems absolutely awful, it turns out not so bad. Repeating that experience constantly is teaching me to relax and be patient with myself.

Was there ever a time in your writing career you thought of quitting?

Not seriously. Never for longer than a few hours. I have always loved to write, and I wrote for 26 years without a single publication. That showed me that it didn’t matter whether I was published or not. I write because I believe it’s what I was made and called to do. Before Arena sold, I had decided that if all I ever had was 20 readers, it was enough. I even made double-sided, single-spaced, book-page-like copies of the manuscript and hand bound them using a Japanese binding stitch. I made three of them, and handed them round to my friends. If worse came to worst, I could do it again.

What’s the best writing advice you’ve heard?

Let the first draft be as bad as it wants to be: you can always edit later. You can’t edit what you haven’t written.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing? In publishing?

I wish I’d really believed that God is the one who has His hand on it all, and that all promotion comes from Him. That no sales numbers, awards, fan letters or any other form of success depends on me or anything I do, but on His grace alone. He’s called me to write, with the personality, background and ability that He’s given me, and I do it to the best of that ability, and that’s all I’m called to do. Not worry about what’s going to happen with it all tomorrow or next year, not try to read the tea leaves of Amazon sales rankings or count up fan responses or reviews as some sort of indication of what the future holds. Though I had reached a point of being very relaxed and content about the whole success and publication thing before Arena sold, once it came onto the market, I’ve had to fight the battle all over again.

What are a few of your favorite books?

C.S. Forester’s Hornblower series, many of Dean Koontz’s books, especially Watchers and Twilight Eyes, Tom Clancy’s Without Remorse, Kathy Tyers’ Firebird Trilogy, Robin Hobb’s Farseer Trilogy, J.R.R. Tolkien’s Lord of the Rings, The Warrior’s Apprentice by Lois McMaster Bujold, Jurassic Park by Michael Crichton, Watership Down by Richard Adams, Connie Willis’ Doomsday Book, Frank Herbert’s Dune..

What work have you done that you’re especially proud of and why?

I think I’m especially tickled with how Shadow Over Kiriath turned out because I spent the bulk of my time writing that book feeling like I had no idea what I was doing. Everything seemed so disjointed and flung together, I couldn’t see how it was ever going to work. And then, just at the end, as I finished up the final draft it all began to click into place. That was a wonderful time. And I think it says some very deep and important things about us and God and our relationship with Him.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

So then it does not depend on the man who wills or the man who runs but on God who has mercy. Ro 9:16

Faithful is He who calls you and He will also bring it to pass.
I Th 5:24

You are my servant; I have chosen you and have not rejected you. Do not fear, for I am with you. I will help you... Is 41: 9,10

Show me the way I should go, O Lord, for to you I lift up my soul.
Ps 143:8

For the Lord GOD helps me, therefore I am not disgraced; therefore I have set my face like flint and I know that I shall not be ashamed. Is 50:7

I like to run them all together and I use them every day.

Can you give us a look into a typical day for you?

I usually get started about 8 or 9 am depending on the day, and write – or plan/outline, or sit staring out the window – until about 2 or 3 or 5 o’clock. Sometimes, I read blogs instead of working. Sometimes I take breaks to do small cleaning chores.

On alternating days, I leave at 2 to go to the gym, and at 5 every evening I listen to an online bible class from the church I consider to be my home assembly in Massachusetts. Evenings, when I’m not close to a deadline I spend making dinner, reading, watching 24 and Lost with my husband, or just putzing around. Sometimes we take a walk around the park.

Do you have a word or page goal you set for each day?

Seven pages, if I’m actually writing a draft. Otherwise it’s more an amount of time devoted. Many days I just sit and think or write nonstop to help my thinking.

Are you an SOTP (seat of the pants) writer or a plotter?

Both. I have a broad outline of events I think I want to happen, but it’s only when I really start trying to transform them from events to dramatic scenes or sequels that I figure out what I really want to write.

Usually I will write a few chapters to get an idea of where I’m starting and who I’m working with and where I want to go... then I’ll outline in greater detail, not chapter by chapter, but just setting down the events as they begin to take shape in their order and context.

Then I start to write through that outlined material chapter by chapter, which almost always deviates from the outline. I have to laugh at the number of times the actions and discussions I thought were the most important parts end up reduced to narrative summary – if they survived at all -- and the parts I thought weren’t important end up the meat of the scene.

Once I’ve completed that section I’ll repeat that process, so I guess I’m more of a leapfrogger than anything.

What author do you especially admire and why?

Dean Koontz, for his mind-boggling skill with words, his awesome ability to create wonderful characters, and fascinating plots, and the intensity, humor and sheer intelligence of his writing. He’s also incredibly gracious for a guy who gets 1000+ fan letters a week! His newsletter, Useless News, is really cool, too.

What is your favorite and least favorite part of being a writer?

My favorite part of being a writer is that magical moment when the writing starts to work. When the scenes come and the words flow and you know it’s right. I love that. It’s also fun toward the end of the book when everything starts to fall into place and you see things you had no idea were there. I love the revision process as well.

My least favorite part is first-drafting, when my head is blank and I can’t make anything happen. I’m getting better about that, as I realize it’s part of the process and will eventually pass. I just have to be patient.

How much marketing do you do? What's your favorite part of marketing?

I don’t do a lot of marketing, mostly just what appeals to me and I have time for. I have a website, a newsletter, and a blog. I do interviews whenever I’m asked, but don’t seek them out. My approach has mostly been to let the opportunities come to me, rather than getting out there and trying to make a lot of contacts. I found that my work suffers when I do that, because all the contacts tend to pull me away from the place I need to be mentally, emotionally and spiritually to write.

Do you have any parting words of advice?

Be patient with God and with yourself, learn to enjoy the writing process and all that comes with it, including the times of waiting. Learn to be comfortable with who God has made you to be and what He has made you to write.

Of course always keep learning and striving to improve and listen as humbly as you can when a writer or editor you admire offers you some advice on how you might improve.

But at the same time, don’t let others’ opinions of your work matter more to you than your own. It’s your work. If someone has some suggestions for improving it, try hard to see exactly what they are talking about and how the work would be improved. Sometimes it won’t be improved by the changes, only made different.

It’s important to learn how to evaluate your own work and not rely exclusively on the opinions of others – good or bad. If you don’t, it will be very hard for you to ever feel good about what you’ve done.

James Scott Bell ~ On Plotting

James Scott Bell studied philosophy, creative writing, and film in college, acted in Off Broadway theater in New York, and received his law degree with honors from the University of Southern California. A former trial lawyer, Bell is the Christy-award winning author of Deadlock, a thriller about the Supreme Court, and coauthor of the bestselling Shannon Saga series. Bell makes his home in Southern California with his wife, Cindy, and their two children.







What are the pros and cons to plotting vs. seat of the pants?

As I explain in Plot & Structure, there are NOPs (No Outline People) and OPs (Outline People) and hybrids. The OPs love the security of knowing where the story is headed. The trade off is a resistance to the story taking on organic life, having the characters head in a direction you didn't plan on.

This is what the NOPs love, the act of daily discovery. But the trade off here is that it may be a lot tougher getting to a coherent ending.

I am somewhere in the middle (NOOP?) I do like to know where I'm headed, but I always allow my characters some breathing room.

What is a common plotting mistake many fledgling writers make?

Perhaps it's in thinking that plot is about incidents only. But without great characters, deep and multi-faceted, there's no blood in it. Nothing pumping. Readers bond to plot through character.

Can a plot be as simple as knowing where you want to start and how it ends, but not quite knowing how you're going to get there?

E.L. Doctorow once likened writing to driving in the dark with your headlights on. You know where you started and where you're going to end, but along the way you can only see as far as the headlights. Then you drive there, and can see a little further.

What you need is a functioning "story engine." In my book I talk about the LOCK System, which provides that. Then you have enough "juice" to fill a novel.

What makes for an engaging plot?

The LOCK elements are Lead, Objective, Confrontation and Knock-out ending. Every one of these must be pressed to the max to make the plot work. When I teach writing, I tell the students that if they master only these four elements, they'll never write a weak plot. From there, it's all a matter of growing as a writer.

I've heard a novel should have three major set-backs for the Protagonist. Can you elaborate?

Set backs are good, and the more the merrier! I always try to follow what I call Hitchcock's Axiom. Alfred Hitchcock once said a great story is "life, with the dull parts taken out."

No trouble = dull. So I want lots of setbacks for my Lead, little ones and big ones, interior and exterior. I do like to have a major one in the middle somewhere that raises the stakes.

How does the plot differ between a plot-driven book and a character driven book?

It's a matter of feeling. You feel in a character driven book that the interior life of the Lead is the most important thing. The pace is more leisurely. But a great plot won't work on all cylinders if the characters don't engage, and have some change happen.

I was thrilled to see the ending of my WIP fits into one of your ending theories: the Protagonist doesn't get what she wants, but the result is good. Talk about endings for a moment.

There are five basic endings. Lead wins, Lead loses and we don't really know (the ambiguous ending is found mostly in literary fiction). Then, Lead wins but at a moral cost; and Lead loses, but with a moral gain.

One of the most famous endings of all, Casablanca, is of the latter type. Rick wants one thing above all, Ilsa. But if he takes her (wins) it will be at a moral cost. He will be taking another man's wife, and also harm the war effort, as the husband is a great resistance leader.

So Rick sacrifices his own want at the end. He loses Ilsa. But his moral gain is that he's found himself again. He's found a reason to live, to rejoin the war effort, not to mention the "start of a beautiful friendship" with Louis, the French police captain.

Now why is this so powerful? Because it's the central story of our culture—sacrificial death and resurrection.

I've always said, "Beginnings are easy; endings are hard." Work and sweat over it. For my latest novel, Presumed Guilty, I re-wrote the ending about 30 times, even getting to the point where I was changing just a few words. Nobody said writing was going to be easy…but it's worth it.

Plot & Structure a book that needs to be in every writer's library.

Click here to buy.

Author Interview ~ Robert Elmer

Robert Elmer is the author of The Duet, and more recently The Celebrity, and the HyperLinkz youth series. He's also writes four other popular youth series with combined sales of over 650,000 copies and translations into Danish, Norwegian, German, and French. He always enjoys visiting Chicago, the setting for The Recital, and lived in the area as a child. Elmer now lives with his family in the Pacific Northwest.




What new book or project is would you like to tell us about?

I would love to tell you about The Recital, my new novel with WaterBrook. It’s a follow-up to my first book (The Duet) and it follows the lives of Joan and Gerrit as they move to Chicago. Joan has an exciting new opportunity to teach at a music school, while Gerrit is… well, a little out of sorts. It’s a story about finding your way in a new place, discovering where “home” really is, and about what it really means to put another person’s life before your own. I hope that doesn’t give it away too much.
(To read a review: click here. )

I’m also excited about my new youth books with ZonderKidz! There’s The Wall (a trilogy), which is an adventure of two kids in Berlin set against the backdrop of the Cold War. It’s some of the most intense historical fiction I’ve written. And then there’s Off My Case, which I co-wrote with Lee Strobel to fictionalize some of his “Case for…” concepts for kids.

You are a successful author of 36 youth novels. When did you start writing adult fiction? What prompted it?

My idea folder was getting bigger and bigger, and some of the ideas I had just couldn’t be told from a kid’s perspective. I also wanted to try writing more relationship-oriented stories, which really wasn’t my thing in the kids’ books. Stories where I could use four-syllable words and didn’t have to end each chapter with an explosion. So it was a challenge, and writing is all about challenges – rather than doing the same thing over and over.

How did you learn to do a woman's POV so well?

My wife told me how. Seriously. Ronda and I have been married 25 years, we have three wonderful grown kids, and she’s taught me a thing or two about how women think. So when I wrote the character of Joan Horton for The Duet, I questioned everything, at each step of the process. Would she really have said such a thing, or thought this way? Would her motivation have been different from a man’s?

It’s basically just like writing a story from the perspective of someone you know is very different than you. Someone from Mongolia or a homeless person. And then it’s fun to discover which character traits you might share, after all. By the way, I hope you’ll say the same thing about the way I present a woman’s point of view after you’ve read The Recital.

Tell us about your publishing journey. How long had you been writing before you got a contract? How did you find out and what went through your mind?

Since college, I always knew I wanted to write. The only question was what? So I started out writing technical policy and procedure manuals for a state agency, then worked as a news reporter and editor, a freelance writer, and as a writer for an advertising agency. During my time at the agency my kids were growing up, and after reading a number of bedtime stories I got the crazy notion that maybe I should write down some stories for my own kids – stories inspired by the era my parents experienced as young teens in World War 2 Denmark.

That became A Way Through the Sea. In the early 1990s after I had finished the manuscript I sent the usual query letters and sample chapters to a number of publishers, and caught the eye of Bethany House Publishers. They were looking for something that would appeal to boy readers as well as girls, and it turned out to be a good time to poke my toe into the publishing door. They called me a couple of weeks after I’d written them. I was floored. They really wanted to publish my story? And write a series, besides? The rest of the stories flowed from there.

Do you still have self-doubts about your writing?

Every honest writer I know does, usually after each book is done. We think how can people really want to read this? No one is going to want to buy the next book. Oh, no! But then we settle back down to the keyboard, and God gives us grace one more time to try again.

Was there ever a time in your writing career you thought of quitting?

I’m guessing bull riders at rodeos have similar thoughts: “I need to get off this bull RIGHT NOW! Although, maybe it would be a better idea if I held on just a little longer." That’s what writing feels like, sometimes.

What mistakes did you make while seeking an editor or agent?

The editors were always assigned to me. And since I’d experienced what it was like on the other side of the editor-writer relationship, we usually got along great. Writers who understand that they’re on a team, and that everyone else is depending on you to deliver a good product—on time—well, that usually helps the relationship. Publishers take deadlines seriously, and favor writers who understand that, as well.

Seeking an agent is an entirely different adventure. But I’ve looked for two things in my agent. First is the relationship. We need to work together very closely, and he has to believe in my work as strongly as I do. Without that chemistry, all is lost. Second, he (in my case it’s a he) has to be effective at selling my work. But the second hopefully grows from the first.

What’s the best writing advice you’ve heard?

One of my favorite writing quotes is from Mark Twain, who said the difference between the right word and the almost-right word was the same difference between lightning and a lightning bug. I’ve always taken that observation seriously when I’ve turned in a manuscript. Editors may help, but I’ve got to come up with the right word to hit the reader between the eyes. That’s my job.

What’s the worst piece of writing advice you’ve ever received?

Wow – good question. Most writing advice is worth filtering, since writing is a personal craft and writing advice is rarely “one size fits all.” However, it’s not rocket science, either, so I take all advice seriously because successful writers can help me avoid getting shipwrecked.

Do you have a pet peeve having to do with this biz?

Not really, except perhaps the common misperception that being a writer equals being wealthy. A lot of people assume that because my name is on the front cover of a lot of books, well, I must make millions. Right! Writing for the Christian market is a lot of things: exciting, life-changing, creative, fulfilling … the list goes on, but doesn’t usually include “lucrative.”

Another thing that gets me sometimes is how mystical some people think writing is. I try to debunk this idea among kids when I teach writing seminars at Christian schools and home school gatherings. Garrison Keillor said that “writing is no more difficult than building a house.” True. And writing—just like house building—can be learned.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing? In publishing?

One of the biggest challenges in publishing is keeping a balance between being professional (making a living at this writing thing) and working daily with people that you come to care about, as co-workers in a ministry team. It can be done, but it’s a challenge and it’s hard work.

The hardest part is when you develop friendships with editors or others on the publishing team, and they make a change to go work for another publisher. I don’t think I could have done anything differently had I known of this challenge earlier, though. It’s just part of the publishing landscape.

Was there ever a difficult set back that you went through in your writing career?

I started out working exclusively with a single publisher. This is nice if you can pull it off, or if your financial needs are more modest. Anyone trying to make a living as an author—as I am—sooner or later faces the need to work with several publishing houses. That’s a bit of a balancing act but it can be done with integrity.

What are a few of your favorite books?

In the Christian market, Kathy Tyers is one of my favorite authors, also Karen Hancock. Bill Meyers has written some good stuff. I loved Eli. I also enjoy books by Deb Raney, because she knows how to build genuine emotions from realistic characters. And as a kid, my favorite author was Beverly Cleary. I still remember when Ralph the Mouse started up his motorcycle for the first time. Vrooom!

What work have you done that you’re especially proud of and why?

I pour my heart into everything I write, and I hope that somehow shows through. Robert Frost once said “No tears in the writer, no tears in the reader.” So I guess some of my favorites have been those books I’ve written with tears in my eyes. Promise Breaker was one of those, for kids. I remember writing the scene where the young protagonist is left behind at an orphanage as a small child. The Duet and The Recital have been marked by emotion, as well.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

For me, writing is life, so the Scriptures that speak to my life also speak to my writing. I especially like the psalm where David asks the Lord to “create in me a clean heart, and renew a right spirit within me… restore unto me the joy of thy salvation…” People who write every day need renewing. We need restoring. And when God grants that renewal and restoration, that’s what keeps me writing the next day.

Can you give us a look into a typical day for you?

That’s the beauty of my job—it’s different every day. But for the most part I try to keep up with requests for publicity and such. E-mail. Sometimes I have to grade some lessons for kids whom I mentor as part of the Jerry Jenkins Christian Writers Guild. There’s always a little bit of ongoing research or a proposal to write. And then I need to keep going with my daily writing quota, which is usually about 2000 to 2500 words a day. I try to be done by the time my wife returns from work at 5:45 so we can have dinner together and a life. I write in the evenings only if a deadline is crunching. The variety of this schedule is gratifying to me, but I have to remember that with the flexibility and freedom come the responsibility of staying on task.

Do you have a word or page goal you set for each day?

I write it out on a calendar so I can see that it’s theoretically possible to complete a book by the deadline. Usually about 2000 to 2500 words a day, typically one chapter. If I finish by dinnertime, I let it go and try not to think too much about it for the rest of the day.

Are you an SOTP (seat of the pants) writer or a plotter?

I start out as a plotter, because I need to know where the story is going and how it’s going to end. My editor wants to know, as well. So my outlines are as detailed as I can make them, typically 10 pages or so for a full-length novel. However, once I start getting to know the characters a little better, often the plot twists a little and different events are highlighted more than I expected. So I’d say I lean toward plotting, but in practice I’m somewhere in between.

What author do you especially admire and why?

I’d zip back to the question about favorite books for my perspective on that one.

What is your favorite and least favorite part of being a writer?

My favorite part is the creativity and the freedom God’s given me to glorify Him by making up pretend stories. I love playing with words and putting them together just so.

My least favorite part is self-promotion. And sometimes on a beautiful day I’d rather be out sailing, or walking in the woods with my wife. Sitting in front of a computer monitor for long stretches can get physically tedious. In the evenings I need to go down to the garage sometimes and saw on some wood.

How much marketing do you do? What's your favorite part of marketing?

My favorite part of marketing is just getting out there and meeting people, getting to know their passion for reaching their communities through the ministry of literature. That’s why I love to go to the annual booksellers’ convention to just meet with bookstore owners, to hear their stories. In the process I get to tell them about what I do, too, of course, and that’s all part of it. But the one-on-one is just a lot of fun.

Do you have any parting words of advice?

Sometimes fiction writers are criticized in Christian circles for simply writing fiction. That’s not serious stuff, we’re told, so we feel like we should stop smiling and go write something that’s true. Something nonfiction. Well, nonfiction is all well and good – and I’ll write some of that, too! But then I remember that Jesus always told stories to make a point. And if my Lord favored fiction, well, I can get back to my word processor and continue the story, as well. And I’ll be satisfied if I can put half as much passion in my stories as He did in his.

Dust in the Wind Marketing ~ R.K. Mortenson

RK Mortenson is a Navy chaplain who has served in the Persian Gulf, Japan, South Korea, Singapore, Malaysia, Bahrain, United Arab Emirates, Australia, Hawaii, Brunei, Indonesia (Surabaya and Bali), Thailand, Malaysia, the Philippines, Singapore, Hong Kong, New Zealand and Australia.

In 2004, Mr. Mortenson and his family moved to Jacksonville, Florida. Randy currently serves as a Protestant staff chaplain at Naval Station Mayport. He serves the sailors assigned to the base, as well as the civilian employees, and their families, and he also ministers to the congregation at the Chapel by the Sea.


It’s time once again to face that 500-pound gorilla in the room.

Marketing.

Ugh.

But I just want to write…

Join the club. Oh, you already have joined. I’m a card-carrying member myself.

I didn’t get into writing so that I could one day market and promote and seek publicity for my books or for me as “the author.”

I take that back. I did dream of sitting behind a beautiful mahogany table in a glitzy bookstore as hundreds—nay, thousands of adoring fans waited eagerly for me to sign their clutched-lovingly-to-their-chest copy of my latest bestseller.

And, okay, I thought a guest spot on David Letterman would be kind of fun. “Hi, Paul and the Band!” And if Oprah’s people called? Sure, I’d be willing to fly to Chicago for a chat. Could definitely work my busy writing schedule around that.

And now, back to reality.

I did not get into writing dreaming of working in the business side of it. That is, of being involved with the publishing and marketing aspects of books. I got into writing because I love to write! And my love for writing grew from my love of reading. Words, words, words. It’s all about the words. I love words! I’m getting dizzy just thinking about them now. Finding the right word, the word that is most apt, most apropos, most fitting to the occasion at hand. What occasion? A sentence. A paragraph. A page. A chapter.

A…book. (Everyone sigh with me: “Ahhhh….”)

I love books.

And let’s get this clear right up front. It is all about the book. A good book. A great book. Filled with words that take the reader on a wondrous journey that ignites the imagination and elevates the soul.

That is the goal. Write the good book. Write the great book. And then…will they come ala Kevin Costner’s Field of Dreams? Uh, no. Not necessarily. Not even probably. Hence the word dream as part of that film’s title. We could say this is R. K. Mortenson’s field of writing dreams turned empty parking lot of writing reality. Write it…and they will—hey, where is everybody? You there, come back! I’ve written a book! Don’t you even care? Several hours later I’m still sitting with my table full of books listening to the crickets and counting the stars—if indeed they can be counted. Wait, that’s another story. Sorry.

No one cares. That’s the starting point. Why should they? They’ve got their own busy lives. What’s another book among the already millions of titles out there? And there are millions. Most people don’t even read one book a month. Many don’t read a complete book in a year. Makes you want to cry, doesn’t it? (Here’s a tissue; I’ve only used it once. Go ahead.)

Ahh, you say waggling a finger at me. Ahh…(all right, I get it. Put the finger down.) But we’re not looking for most people or even many people—in the big scheme of things (meaning the entire population on the planet). We’re looking for readers. Those book-lovers like ourselves who gobble up words for breakfast and finish a novel for dinner and skip lunch because they’re too engrossed reading.

I love books! I love readers! We love books! We love books!

Yeah, well, those readers already have their favorite types of books and their favorite authors, and if you’re not on their list or you’re coming out with your first book (in which case you’re not on their list by default, duh), then even the readers won’t be interested in your book. They won’t care.

Unless…unless…they somehow hear about your book or maybe even about you the author, and something in what they hear catches their interest. Suddenly, from out of the blue, they think: Hmm. Landon Snow and the Auctor’s Riddle. They nod. Nice cover. They flip it over. Their eyes scan left to right, left to right. The world around them fades. They turn the book over again and…

And…

(I’m holding my breath here…)

They open the cover. Their eyes are roving. Their brain is engaged. They flip a few pages, snap the book shut, and head toward the checkout counter—with the book!

And there was much rejoicing.

Okay, I actually skipped over a bunch of steps there, so eager was I (where did Yoda come from all the sudden?) to get that book into the customer’s hands (customer? Did he just say ‘customer’? What happened to our beloved ‘reader’? Oops.) and get that customer/reader/wonderful person to the checkout counter. What did I skip over? Only everything I was going to talk about here regarding distribution and marketing and promotion and publicity. The 500-pound gorilla—as it were. Instead, how about we say this has been an example of what can happen when a writer lets his stream-of-consciousness voice take over his topic? I’ll save my not-patented-or-copyrighted-or-protected-by-any-means Dust in the Wind Marketing plan discussion for next time. In the meantime, don’t be shy about telling people about your books. You never know what could happen. You might even be invited to share your marketing expertise with fellow writers via a renowned blog called Novel Journey.

See? Some dreams do come true.



R.K. Mortenson's next book will be out Oct. 2006:

Landon Snow finds himself on a wild adventure at sea. When a huge, ark-like vessel emerges, Landon-and his sisters-join a quest to find the Island of Arcanum, where the animals of Wonderwood are imprisoned. With the help of his old friends-a horse named Melech, elfish valley folk, a girl named Ditty, and the poet/prophet Vates-Landon seeks to unlock the island's dark secrets and escape with the animals. But he must battle storms and the villainous Arcans-pirates who hoard animals as treasure. Will Landon ever make it back to Wonderwood alive?

S'up Saturday

Wow, a weekend I don't have to be on the road!

GREAT stuff ahead of us folks. Upcoming interviews with: Noah Lukeman, Chip Mac Gregor, Bob Mitchell, T.L. Higley, Wendy Alec, Christy Hancock, Beth Webb Hart, Linda Wichman, Nicole Mazzarella, Nancy Moser, Robert Elmer, Joyce Livingston, and many more.

Teaching from: James Scott Bell teaching on plotting.
Sally John teaching us show vs. tell and, of course publicist Jessica Dotta on...what else?

Commentary from: Yours truly, J.Mark Bertrand, and Mike Duran.

Today is a friend of mine's birthday, author Don Brown. You can wish him a happy one in the comments below. This audio blog will play the birthday song for him, (or you if you happen to share the day or just happen to like the happy birthday song).

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Another good friend, author Kathryn Mackel, had a new release come out that somehow I missed until now. I LOVE her writing and eerie story lines and I think she's pretty cool as well!



"A dark ravine. A fiery death. An unimaginable secret. Some things are best left hidden.
Grieving her son's death, psychiatrist Susan Stone returns home to Colorado to help her elderly father manage his horse-breeding business. After the botched delivery of a prized foal, Susan rides wildly into the mountains, seeking release from consuming guilt. Thrown from her horse, she tumbles into a dark ravine and makes a startling discovery--a young man, chained in the darkness.
This novel will forever alter your perception of the darkness of
evil and the light of forgiveness and hope."


Click here for more information.


Here's what author, Eric Wilson had to say about The Hidden:

"Mackel has quickly established herself as a writer of depth and suspense. Her first two novels combined original premises with supernatural/spiritual flavors, and they flowed nicely with the depth of her characters. "The Hidden" uses the same ingredients, but lets them simmer a bit longer before boiling over with unique ideas, tension, and a surprise or two. This time around, Mackel takes readers into small-town Colorado, where gruesome deaths become linked with the lives of a family and the young man they find chained in a ravine. Each character has depth and motives that become clearer as the story goes along. Readers might think the path is leading in a straight-ahead fashion, but it starts to twist and turn. The spiritual ideas are developed well, and the final pages bring satisfaction in unexpected ways. If you like tightly-wound stories that still manage to develop memorable characters and thought-provoking themes, "The Hidden" is one you'll want to read. I hope to see more from Mackel. She's never the same, but she's always dependable. I like that in a writer."

National Chris Well Day!

Hi all. I know you were looking forward to Jessica teaching on publicity. I asked her to take the day off and bring it to us next Friday.

Our goal here at Novel Journey is to promote great CBA novels and we're going to help Chris Well promote his upcoming release.

Today across the internet, bloggers et al will be posting the first chapter of his book for your perusal. I hope that you'll check it out and then come back here and leave a comment encouraging our friend.

(I want to take a moment to thank those of you who leave comments encouraging our authors and contributors. It really goes a long way to keep everyone going. We greatly appreciate it!)

Deliver Us From Evelyn (Harvest House, 2006) is already building abuzz in its own right. In this thriller, everyone from the Feds to the mob is scrambling to find the husband of heartless media mogul Evelyn Blake. But no one can decide which is worse — that he is missing, or that she is not.

Chris Well is an award-winning novelist and magazine editor. By day,he is editor for Homecoming and contributing editor for CCM. He andhis wife make their home in Tennessee.

Without further ado:

Click here to read the first chapter!

Author Interview ~ Susan May Warren

Susan May Warren is the award-winning author of seventeen novels and novellas with Tyndale, Steeple Hill and Barbour Publishing. Her first book, Happily Ever After won the American Fiction Christian Writers Book of the Year in 2003, and was a 2003 Christy Award finalist. In Sheep's Clothing, a thriller set in Russia, is a 2006 Christy Award finalist. A former missionary to Russia, Susan May Warren now writes Suspense/Romance and Chick Lit full time from her home in northern Minnesota.






What new book or project would you like to tell us about?

I’m so excited about my First Chick Lit book hitting the shelves this June! It’s a hilarious story about a Minnesota girl who goes to Moscow for a year to teach English, and finds herself in way over her head. I had a blast writing it because I lived in Russia for many years, and I was finally able to poke fun at all the crazy things that happened to me. It also uncovers the TRUE life of a missionary. So many people think that you have to be a super Christian to be a missionary … this is so far from true. What you have to do is trust God that He’ll do His thing through (or in spite of!) you. Everything’s Coming Up Josey probably the closest I’ll ever come to writing my life story. *grin*

You're a Christy Award finalist. What was that process like for you? How did you find out?

I’m so thrilled to be a finalist! I was a finalist two years ago for my first book, Happily Ever After, and at the time, I didn’t have a THING to wear. *g* This time I found my dress on SALE. Which I think bodes well, don’t you? Most of all, I’m just thrilled that In Sheep’s Clothing finaled. I wrote the story in Russia and much of it is based on actual events. How did I find out … oh, well my nine-year old told me. *g* Actually, my editor, Krista called me. However, I wasn’t home so she left a cryptic message with my son. He met me at the door with a “Hey mom, someone called about an award or something.” I got on email immediately and thankfully she’d written with the happy news! It got pretty loud around my house for a few days after that.

Tell us about your publishing journey. How long had you been writing before you got a contract? How did you find out and what went through your mind?

I really started writing when I was a kid, and never had any dreams of being an author because, well, I thought … are you kidding? When I became a missionary, I determined to write the best newsletter I could, honing all my storytelling techniques and doing my best to make our supporters feel as if they were there, with us, in ministry.

Later, I submitted to a few devotional books and magazines. But I had such little time to write for those publications, and such long quite Siberian nights, it felt natural when God gave me the nudge to start writing novels. I wrote in the backside of Siberia for four years before I submitted my first novella to Tyndale (I had about six books written by that time, sitting in files on my computer). Admittedly, I didn’t submit much (that return postage to Siberia got a little pricey!), but I submitted enough to get some good feedback. And, of course, I joined the American Christian Romance Writers and tried to learn as much as I could.

I don’t think there is one book in my library that isn’t defaced with notes and highlighter marks and tabbed pages. I have to tell you that no one was more surprised that Tyndale wanted to buy my novella than I because I’d been told that international stories about missionaries didn’t sell. But they sent me an email about three months after I’d submitted the story (I was backpacking in Europe at the time, so I didn’t’ get the email until about 2 weeks after my editor sent it. I’m sure they were sorta wondering, what’s with her?). I remember thinking … no, this isn’t for real, is it?

Do you still have self-doubts about your writing?

One stroll through a Barnes and Noble, should give you the answer to that. *grin* There are SO many good storytellers out there, especially in the CBA market. It can be daunting, depressing, and the fact is, for every idea I come up with, there are about four other ideas just like it hitting the market the same time. (Except, of course, if it’s a Ted Dekker book … really, he doesn’t think like the rest of us. *g*) Mostly, I just try to write the best story I can, to the glory of God and I leave the rest of it to Him. And I try to let the self-doubts push me to be a better writer.

Was there ever a time in your writing career you thought of quitting?

I’ve been discouraged … but God used that to remind me that I was writing for Him, and regardless of how many books I sold, He was pleased. Besides, if I try and quit, my characters visit me in my sleep and threaten me.

What mistakes did you make while seeking an editor or agent?

Finding the right agent can be a challenge. I went through two agents before I found my current agent, who rates up there with TiVo in my life. I don’t need a lot of hand-holding, but I did need an agent who believed in me, and I think that is the most important thing in finding an agent … they need to like you and your writing.

What’s the best writing advice you’ve heard?

Dee Henderson (whose stuff I love! I want to write like her when I grow up), told me once to just keep writing. Once I finished a book, I’d look at what I learned and apply it to my next book. Hence why I had about 4 novels ready to be published once I sold that first novella. And since then, they’ve all been published. *grin*

What’s the worst piece of writing advice you’ve ever received?

Hmm … well, I think that new writers are often told to ignore the market and write what is on their hearts. I think the idea behind that is to be passionate about your story. But you DO need to look at trends and what people like to read. I researched Tyndale books extensively before I submitted to them. I tried to craft a book that I thought would fit with their publishing style. Yes, there are authors out there who do their own thing and break the mold … but I found that the publishers in CBA know what their doing and listening to their advice is wise. That’s not to say that I don’t have a few books that “break the mold.”

Do you have a pet peeve having to do with this biz?

I love working in CBA. Sometimes it tends drive me crazy, but mostly it drives me crazy that in ABA they give humongous advances to unseasoned writers, or that poorly written books get huge press. But again, I just have to keep my focus in the right place.

What do you wish you’d known early in your career that might have saved you some time and/or frustration in writing? In publishing?

Although writer’s want to jump right into trade size fiction, it’s a good idea to hone your skills with great “club” lines like Heartsong Presents or Love Inspired. Your readers get to know you and learn the business. I wish I’d written a few more “club” books before, or while I was also publishing in the trade lines.

Was there ever a difficult set back that you went through in your writing career?

When we moved to the US from Russia (and this is going to sound crazy) I had to leave my “writing chair” in Russia. I’d never written a book without it and I went through a weird panic/writer’s block! Thankfully, I got a NEW chair, but it was weird and way too “eccentric artist.” But it did remind me that writing wasn’t all mechanics.

What are a few of your favorite books?

Francine’s Redeeming Love, (or course), All of Dee Henderson’s books. I also love the new chick authors in CBA – Tracey Bateman, Kris Billerbeck, Sharon Hinck, Kathy Springer, and so many more. Secular authors – Meg Cabot’s non-princess books, and anything but Susan Elizabeth Phillips.

What work have you done that you’re especially proud of and why?

I am really delighted with the way Everything’s Coming up Josey turned out. I didn’t know if my sense of humor would translate, and to get good reviews has blessed me (and confirmed to my husband that YES, other people think I’m funny, too, thank you very much). Mostly, I’m excited to share my story in a unique, funny way. And Josey has a great message, also. BUT, I’m also thrilled about my new Reclaiming Nick book – the first of my Noble Legacy with Tyndale. I wanted to write a “Susan Elizabeth Phillips” type of contemporary romance…a full cast with a resonating story with captivating heroes/heroines. I think the Noble family and their story fits the bill.

Do you have a scripture or quote that has spoken to you lately in regards to your writing?

Romans 15:13 – May the God of hope fill you with all joy and peace as you trust in Him, so that you may overflow with hope by the power of the Holy Spirit. I love this verse because it reminds me that my job is to trust in God and let His hope overflow in me (and with that hope, WORDS, lots of WORDS!)

Can you give us a look into a typical day for you?

Yeah, I get up, my maid serves me breakfast in bed as the sun rises over the lake, then lays out my clothes … Okay, reality, huh? I get up at 6, have my quiet time, pray with my family then shoo them out the door. Then spend the next three hours in my jammies, telling myself to go take a shower while I answer email and suck down coffee (that’s a nice visual, isn’t it? Probably, if you get an email from me before 10, you should think of me in a nice business suit with an elegant coif.)

I tell my youngest son to stop playing Backyard Skateboarding and read the next chapter in his history book (we real historical fiction for our textbooks), and I threaten my oldest son with bodily harm if he doesn’t roll out of bed. Then I jump in the shower, and emerge a much better person in so many ways. The next two hours I spend home schooling my 3rd grader and wishing I understood new math. Then I eat lunch with my boys and we exercise our brains by catching up with the previous night’s TiVoed shows. Occasionally I’ll tread. Okay, like almost never, but it has happened. Twice.

The afternoon I spend writing – fleshing out characters, working on chapters, editing. My other two kids come home at 4pm and we together scrounge the house for something edible. Then I disappear for another two hours, hoping in vain the cooking fairy will arrive and have something nutritious on the table at 6pm.

I’m usually horribly disappointed and at 6pm emerge to scrape together something, usually in my wok. Hey, add a little ginger and garlic to anything and it’ll taste good. My hubby drags in around 6:30, we eat and then we’re off to various committee meetings, karate, church or once in a while an episode of Idol or the Amazing Race. I flop into bed around 10, read for an hour or so then finally flick off the lights by 11. At which time, I commence talking to my husband. He’s a great listener – real quite and contemplative – by then.

Do you have a word or page goal you set for each day?

I try and do a chapter a day – between 4-5K words.

Are you an SOTP (seat of the pants) writer or a plotter?

I’m an extensive plotter, but after I define the scene, I let the SOTP in me (small and afraid as she is) to take over. It HAS happened that the characters will end the scene differently than I thought … and most of the time no one gets hurt.

What author do you especially admire and why?

Well, I love Frannie’s characters and ability to write a romance, Dee’s plots (and heros!), and Karen’s ability to make a person cry. I love Ted D for his depth. So, if I could be a sorta morph of all of these, that would make me very happy.

What is your favorite and least favorite part of being a writer?

Well, it can get kinda lonely. Yet when I get on email, well, I get nothing done. But mostly, it’s the fact that I SIT for hours. I get so absorbed that I can get stuck in one position. What is my favorite? Good reviews! And positive reader mail! And I LOVE holding the finished product.

How much marketing do you do? What's your favorite part of marketing?

I am doing more and more all the time. I like connecting with readers and talking about my books and their themes and characters. Most of all, I like it when someone loves the story as much as I do and laughs at all the right parts.

Do you have any parting words of advice?

Writing is work, but in the end, it should give the author a deep satisfaction that she/he is working out the gift God has given them. And keeping your focus on God and His voice is the only way to keep your head above water.